I Got a Question for the Detroit Brehs/Brehettes..

[Neo. The Only. The One.]

I’m not in the D but I kno that techno/house still has some influence, some they rappers be rapping on these type beats

Imma need @Apprentice on this beat

 

[K.O.N.Y]

as far as what?

As far as birthing techno

 

[Dillah810]

@IllmaticDelta

Who came first Detroit or Europe

I think you may have done a thread on this

Detroit birthed Techno, but the artists that birthed it were heavily influenced by German electronic artists like Kraftwork

 

[Phitz]

I heard it in the local spots back in the day, it was as if you played "Back that thing up" the whole night when that music came on. Nobody was standing on the wall.

 

[IllmaticDelta]

As far as birthing techno

There were European bands making Electronic Music but it was stiff and robotic synthpop





Kraftwerk were actually trying to imitate James brown/Funk through electronics

You mention how even though you loved black music it wasn't your sound. What's interesting is how, very early on, you were embraced by black America – or certain parts of the black American concert going public at least.

KB: "That happened not too long after my first encounter with Ralf and Florian. In 1975 we went over the Atlantic and spent 10 weeks on the road. We went from coast to coast and then to Canada. And all the black cities like Detroit or Chicago, they embraced us. It was good fun. In a way apparently they saw some sort of very strange comic figures in us I guess but also they didn't miss the beats. I was growing up with the funky beats of James Brown and I brought them in more and more. Not during Autobahn or Radioactivity but more and more during the late 70s. We took some black beats into our music and this was very attractive to the black musicians and the black audiences in the States. In a way probably it reminds me of what The Beatles did. They took some Chuck Berry tunes and they transferred it to our European culture before taking it back to America and everyone understood that. In a way that was probably what we did with black rhythm and blues. But we mixed it of course with our own identity of the electronic music approach and European melodies. And this was good enough to succeed in America.

The Quietus | Features | A Quietus Interview | Karl Bartos Interviewed: Kraftwerk And The Birth Of The Modern

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The influence of James Brown is something you’ve spoken about before, how did you manage to incorporate his rhythms into a style of music that was very different.

You just do it. Because if you do one thing for the first time, there are no footsteps in the snow. This was the funny thing, we had this idea of making in music the same thing as in animation pictures. You draw the whole world and you have the image of the world – but it all looks different, because it’s drawn. It’s not a photo of a duck – it’s a drawn duck. Or Mickey Mouse – it’s a drawn mouse. And then you have a tree, but it’s a drawn tree. And because of that you change from a realistic point of view into something else, which is a jotting of it, a concept of the world. It’s not real. And then you can explain things much better.

So, James Brown. If you use this artificial environment of synthetically generated sound, and you use the same off-beats taken from James Brown, it sounds familiar but different. It’s the same off-beat but somehow everything is changing, because it’s a new texture. But it’s the same timing [taps on the table], it’s the same rhythm. But it has changed, somehow it has this twisted thing. Tarantino. He gives us a very well-known character, but the hero now is a black guy: Django Unchained. So the main character is suddenly black, and it’s really cool because it gets a twist, and you can’t relate it to anything you’ve seen before. And that’s what we did. Through the different texture it got a twist.

In Simon Reynolds’ rave culture book Energy Flash, Carl Craig says, “Kraftwerk were so stiff, they were funky”…

We had the offbeat, and you have to know how to place offbeats and not exaggerate them. Sometimes, if people are really good drummers, they make so many offbeats they just wipe each other out. But if you have just one offbeat, and you repeat it every four bars, then it becomes so strong it becomes a formula. And I’m always after a certain formula that you can repeat in your mind. It’s just the right offbeat at the right time.

I think there’s an element of repetition in James Brown’s music that’s also relevant…

Johnny Marr told me this funny story. There was a new guitarist who wanted to be part of James Brown’s band, and the old guitarist said to him, “Hey guy, can you play this on the guitar? Bee-be-de…bee-be-de…bee-be-de…”. And the new guitarist says ‘Pffft, that’s easy’. And the guy says, ‘Yes, it’s easy, but can you play it for three hours?!’.

Interview: Karl Bartos - The Monitors

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The Detroit dudes got a hold of these same electronic instruments but made it funky/loose/danceable in a way Europeans couldn't








At the age of sixteen, Atkins heard electronic music for the first time, which would prove to be a life-changing experience. In late-1990s interviews, he recalls the sound of synthesizers as being like "UFOs landing." He soon had his first synthesizer and abandoned playing funk bass.[3]

“ When I first heard synthesizers dropped on records it was great… like UFOs landing on records, so I got one.…It wasn’t any one particular group that turned me on to synthesizers, but 'Flashlight' (Parliament's number one R & B hit from early 1978) was the first record I heard where maybe 75 percent of the production was electronic.[4]







Techno was always more "robotic" sounding than house because Detroit dudes were on that "Afrofuturistic" tip whereas the Chicago dudes were trying to revive Disco. Techno is influenced by Chicago House but just more robotic


So it goes something like: Funk--->Disco---> from Black America





(creation of synthesizers)

white people in the 1970s trying to take these funk/disco styles to electronics but more in a "Rockist" way



black people in the 1970s taking those same electronics to disco/funk/soul which would lead to Boogie/Electro-Soul/Synth-Funk and Electro-HipHop







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In the end:

Chicago made stripped down classic Disco music which lead to House music

Detroit followed that same path but made the music more robotic/science fiction influenced which lead to Techno/Electro-Tech/Tech-House

 

[K.O.N.Y]

There were European bands making Electronic Music but it was stiff and robotic synthpop





Kraftwerk were actually trying to imitate James brown/Funk through electronics




The Quietus | Features | A Quietus Interview | Karl Bartos Interviewed: Kraftwerk And The Birth Of The Modern

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Interview: Karl Bartos - The Monitors

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.
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The Detroit dudes got a hold of these same electronic instruments but made it funky/loose/danceable in a way Europeans couldn't








At the age of sixteen, Atkins heard electronic music for the first time, which would prove to be a life-changing experience. In late-1990s interviews, he recalls the sound of synthesizers as being like "UFOs landing." He soon had his first synthesizer and abandoned playing funk bass.[3]

“ When I first heard synthesizers dropped on records it was great… like UFOs landing on records, so I got one.…It wasn’t any one particular group that turned me on to synthesizers, but 'Flashlight' (Parliament's number one R & B hit from early 1978) was the first record I heard where maybe 75 percent of the production was electronic.[4]







Techno was always more "robotic" sounding than house because Detroit dudes were on that "Afrofuturistic" tip whereas the Chicago dudes were trying to revive Disco. Techno is influenced by Chicago House but just more robotic


So it goes something like: Funk--->Disco---> from Black America





(creation of synthesizers)

white people in the 1970s trying to take these funk/disco styles to electronics but more in a "Rockist" way



black people in the 1970s taking those same electronics to disco/funk/soul which would lead to Boogie/Electro-Soul/Synth-Funk and Electro-HipHop







.
.

In the end:

Chicago made stripped down classic Disco music which lead to House music

Detroit followed that same path but made the music more robotic/science fiction influenced which lead to Techno/Electro-Tech/Tech-House

so basically "detroit "techno, is techno as we know it
And whats been popularized in pop culture

it just gets confusing with the addition of -Detroit. Instead of just calling it techno, outright

it makes it seem as if its a deviation of some sort

 

[IllmaticDelta]

so basically "detroit "techno, is techno as we know it
And whats been popularized in pop culture

it just gets confusing with the addition of -Detroit. Instead of just calling it techno, outright

it makes it seem as if its a deviation of some sort

Yes. Techno as a genre/as we now know it is from Detroit. They added "Detroit" to it back then so it wouldn't get grouped in with Chicago-House because back in the day it was called "The House Sound of Detroit" before settling on the label "Techno"

Compiled by techno producer Derrick May and Kool Kat Records boss Neil Rushton (at the time an A&R scout for Virgin's "10 Records" UK imprint), the album was an important milestone and marked, in the UK, the introduction of the word techno in reference to a specific genre of music.[3][4] Previously, the style was characterized as Detroit's interpretation of Chicago house rather than a genre unto itself.[4][5]

The compilation's working title had been The House Sound of Detroit until the addition of Juan Atkins' song "Techno Music" prompted reconsideration.[1][6] Atkins's "Techno Music" contains speech synthesis, and its title was inspired by Alvin Toffler's book The Third Wave.[7][8] Rushton was later quoted as saying he, Atkins, May, and Saunderson came up with the compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they instead favored a term they were already using, techno.[4][6][9]

 

[$cam-U-Well_Jack$on]

Techno

 

[Apprentice]

Imma need @Apprentice on this beat

Ctfuuuuu u real bra

They not ready tho