from the EP Overload, Network Records, 1990
Although often times overshadowed by its more well-known siblings (the 303 & the 808), Roland’s TR-909 was the drum machine most techno and house producers in the late ‘80s and early ‘90s ended up using to lay their beats, usually after having reached the limitations found on the other previously mentioned machines; frankly, the 909 is just easier to work with and has everything you need in one contraption. Midlands-based duo Altern-8 (Mark Archer & Chris Peat) probably know every last in & out of this particular device, all the fun patches and every last pattern, having employed one to craft many of the UK’s biggest rave anthems in the early days; these dudes used to show up at parties dressed in full-on, EPA style hazmat suits, including masks over their faces---which makes an old raver wonder, were they the first to start rocking those masks (pre-Vicks) which became ubiquitous at raves worldwide in the years following…? This track, and a grip of their initial wax, walks a fine line between techno & house: a bit too bouncy to be techno proper, but dark enough to sit pensively in the middle.
from the 12” EP Inteference, Metroplex Records, 1988
Darker, more nuanced, and often slightly faster than it’s cousin down in Chicago, early Detroit techno producers were still primarily concerned with their tracks being danceable at this stage, something which went out the door a long time ago in the world of techno; quite frankly, these early cuts have much more in common with house music than with the last 15 or so years of “techno”. Remember, before raves became common place in the US and the demographic of listeners changed (mostly to white), techno music was primarily a black, heterosexual, inner-city nightclub scene, so the music still needed to be groovy enough that the whole crowd could get down to it. One thing which great techno records have never lost is their ability to put subtle effects and sounds in the front of the track without compromising the bottom end, a trick which Juan Atkins (aka Model 500, with Kevin Saunderson & Derrick May) might do better than any other producer on the planet, and as this song skillfully illustrates, an aptitude he’s had since the very beginning. A venue where one would have been likely to hear this record played, back in the day, was on a cable access dance program in the Detroit area called the New Dance Show, and I encourage all of you to follow this link and get a clear idea of just how much techno has changed in the interim: http://www.youtube.com/watch?v=pOlKS1VX6yU&feature=related
from the Vol. 1 EP, R&S Records, 1990
Even though Chicago & Detroit released the lion’s share of house & techno records in the 1980s, NYC was never a city to be outshined, and although it took them almost five years to get their act together, by ‘89/’90 the wax being pressed in New York was comfortably rivaling that from the middle of the country. More widely remembered for his pioneering usage of what became known as the “hoover sound”, Queens-born Joey Beltram largely wound up shaping the face of early European techno, and this track in particular will always get a rise out of me (re: the MDMA-memory chills, yummy…). That thundering sub-bass is practically the birthstone for early speaker huggers; you know, those endearing puddles of serotonin that would plant themselves in front of the bass stacks at a party, some of them even taking to climbing inside of them in order to allow the sound waves to really do their thing---poor kids are probably already going deaf! This track was played at raves for like 3 or 4 years strong after its release, speaking to both its awesomeness, but also the significantly slower nature of an anthem’s turnover back then.
Side A, 1997
Although they went on to become rather segregated, the differing styles of electronic music were never meant to be mutually exclusive from one another, and some notable DJs never felt the need to make a decision regarding the music they spun, as far as only playing one style of records; Chicago’s Terry Mullan has always walked that line, juggling house, techno and acid tracks like a true pro, endearing him to a wide audience of beats-freaks from coast to coast. Owner of Catalyst Recordings, Mr. Mullan has long been a jack of many trades, producing, remixing & spinning records; he has one of the thickest mixtape discographies of all American DJs, this particular tape series being one of his most popular---and for good reason! I’ve seen Terry spin live many times, and his ability to please both factions (techno & house fans alike) is well represented within this mix, a grimy stew of some of the banging-ist beats from that year.
from the 12” single, Warp Records, 1990
It’s hard to believe how far along the evolution of electronic music has come---this track, released today, would barely even be called house music, but at the time it dropped, it was the most cutting edge slice of “techno” on wax (if your only familiar with the Berlin-style techno which has reigned since the late ‘90s, set your face to stunned). The duo’s name stood for “Low Frequency Oscillator”, and their style of techno music was clearly a bit more informed by the mushrooms and MDMA they were taking around Sheffield in England, as opposed to the earlier Detroit tracks which had stronger ties to actual dance clubs than raves. This song still sounds fresh to me almost 20 years after its creation, eerie and sprawling with a truly fiendish bassline.
from the EP Overload, Network Records, 1990
