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techno and white people
- Thread starter chesty
- Start date
J
Johnny Zampon
Guest
its pretty easy for anyone to have rhythm after they've popped a handful of x's.
did you go to a techno party or something?
did you go to a techno party or something?
J
Johnny Zampon
Guest
super
please tell me your not one of those chicks that dances with those stupid fuckin glowsticks. i always see that shit at techno or house parties and i cant stand it.
please tell me your not one of those chicks that dances with those stupid fuckin glowsticks. i always see that shit at techno or house parties and i cant stand it.
Freak Show
New member
any of you 'techno' fans listen to Omar Santana?
S
Stumpy (The Fucking dumbass Piece of Shit!)
Guest
If you like industrial get some tracks by Frontline Assembly, Velvet Acid Christ, Wumpscut, Leatherstrip, Front 242, Lassigue Bendthaus, KMFDM (industrial funk). There are many other industrial outfits, but the aformentioned bands are benchmarks that every other group within the genre is compared to.
Freak Show
New member
If you want something really heavy and kinda psychotic download something by that Omar Santana guy I mentioned, Da Predator, or Chosen Few. Can't really dance to it, but its unique and phenomenal for working out.chesty said:
I'm a big fan of BT. He has some of the most creative electronic music I've ever heard.
S
Stumpy (The Fucking dumbass Piece of Shit!)
Guest
I forgot to add Skinny Puppy, the founding fathers of industrial dance. Also check out Pouppee Fabrikk, 16 Volt, Diatribe, Numb, and The Fourth Man if you're into industrial/metal crossover.
S
Stumpy (The Fucking dumbass Piece of Shit!)
Guest
trab said:
Actually, it's true - both Techno and House are creations of progressive/leftfield artists that came out of the black communities of Detroit and Chicago. Here are some good links:
http://www.selekta.com/articles/history_house.asp
http://music.hyperreal.org/library/machine_soul.html
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FreakMonster
New member
Front 242 Rocks!!!! Definitely check them out!!
Anyone remember the first Lords of Acid album?
Anyone remember the first Lords of Acid album?
McBainXVII
New member
Freakshow, or anyone else, i found some 30 second samples of your man omar and where can i find more on the net??
Freak Show
New member
Damn, I have no idea. I don't get much of my music off the net, so I'll have to do some digging. He has an album out called "Hardcore for the Headstrong." Phenomenal album if you like that sound. Its put out by moonshine. Their site is: www.moonshine.com. Here's another one I'll check right now: www.h2ohrecordings.com. Doubt there will be songs to download but who knows.McBainXVII said:
Slice of Peach2
New member
Johnny Zampon said:
We finally agree on one thing.
Glowsticks are retarded!
P
plifter
Guest
What is techno and industrial music? Is my age showing?
S
Stumpy (The Fucking dumbass Piece of Shit!)
Guest
Funkoram, I agree with you on the mediocrity of some the records out right now. But then again there are many really talented guys and gals who're coming out with some original material, and they're really pushing the envelope. Speaking of Derrick May, here's a bit from his interview with XLR8R magazine back in 1996 (issue 20):
He trailed off. Derrick definitely harbored some bitterness towards past and current enemies. Trends in techno had occurred without his input, had even usurped him. The evil 'they' kept appearing in our conversation, which seemed to be a muddled reference to the recording industry, the British media, and the white usurpers of techno-dance music. Derrick then reiterated a common fact: Detroit's techno elite simply do not get the same respect in America, even in Detroit itself, as they do in Europe.
"Nobody wants to give Detroit full respect, and that's why it keeps on coming back. If Detroit ever got the respect it needed or deserved, then this wouldn't be happening, because it would be over, it would have happened. But somebody is always trying to oppress the city every time we get a little bit of credibility. But we'll always be around, because what they do is they put us up, then they pull us back. Then they pull us back more, to make some mystery, to make us more of a novelty. It's not much to do with us."
This began our discussion of the exploitative side of the scene. He likened Richie Hawtin to Moby, two white boys who capitalized on black music. We rather falteringly objected. Derrick noticed this and hedged, "Well, Richie, he's a good remixer, and also a good businessman, which is technically the pinnacle of this business on this level, but you don't have to be some sort of fucking brain surgeon to realize that if you are a white kid doing the same exact things in the same exact way, more than likely some record company is going to be very glad, and I don't know why. I think it's subconscious now , I don't think it's racism as much as it's tradition, you know, you'll get the big fat record deal, you'll get the big fat multi-million dollar distribution deal, which we don't get. Look at early rock and roll, Chuck Berry barely survived, and you know he still had to work, he still works, works like a dog."
But Chuck Berry was not Derrick May, and we all knew it. Derrick had definitely reaped the rewards of his success. We asked him about what he felt about techno going 'commercial,' and of the current major-techno-label plot to conquer the North American market over the next few years. Harthouse and Eye-Q were moving in. Did he feel there was any real conflict between artistic vision and monetary reward, between music and marketing? What of people who try to dismiss him as one or the other?
"That's a good question, and you know, well, Fuck 'em. Fuck 'em all.
"I appreciate being underground, because you know, underground means I'm an artist, and I'm happy to be that, but I realize that one day I will either die in the underground or I will grow up. I'm going to have to grow up. It doesn't mean that I will have to sell out, it just means that I will have to let somebody step in my place. Because I can't always be this person, I can't always be the mystery, the man who comes on the turntables and everybody comes into the room to hear him ... this kind of success, it's like, live it, love it, loath it, all these things. Desire it, but don't obsess over it because it will fucking destroy you."
He trailed off. Derrick definitely harbored some bitterness towards past and current enemies. Trends in techno had occurred without his input, had even usurped him. The evil 'they' kept appearing in our conversation, which seemed to be a muddled reference to the recording industry, the British media, and the white usurpers of techno-dance music. Derrick then reiterated a common fact: Detroit's techno elite simply do not get the same respect in America, even in Detroit itself, as they do in Europe.
"Nobody wants to give Detroit full respect, and that's why it keeps on coming back. If Detroit ever got the respect it needed or deserved, then this wouldn't be happening, because it would be over, it would have happened. But somebody is always trying to oppress the city every time we get a little bit of credibility. But we'll always be around, because what they do is they put us up, then they pull us back. Then they pull us back more, to make some mystery, to make us more of a novelty. It's not much to do with us."
This began our discussion of the exploitative side of the scene. He likened Richie Hawtin to Moby, two white boys who capitalized on black music. We rather falteringly objected. Derrick noticed this and hedged, "Well, Richie, he's a good remixer, and also a good businessman, which is technically the pinnacle of this business on this level, but you don't have to be some sort of fucking brain surgeon to realize that if you are a white kid doing the same exact things in the same exact way, more than likely some record company is going to be very glad, and I don't know why. I think it's subconscious now , I don't think it's racism as much as it's tradition, you know, you'll get the big fat record deal, you'll get the big fat multi-million dollar distribution deal, which we don't get. Look at early rock and roll, Chuck Berry barely survived, and you know he still had to work, he still works, works like a dog."
But Chuck Berry was not Derrick May, and we all knew it. Derrick had definitely reaped the rewards of his success. We asked him about what he felt about techno going 'commercial,' and of the current major-techno-label plot to conquer the North American market over the next few years. Harthouse and Eye-Q were moving in. Did he feel there was any real conflict between artistic vision and monetary reward, between music and marketing? What of people who try to dismiss him as one or the other?
"That's a good question, and you know, well, Fuck 'em. Fuck 'em all.
"I appreciate being underground, because you know, underground means I'm an artist, and I'm happy to be that, but I realize that one day I will either die in the underground or I will grow up. I'm going to have to grow up. It doesn't mean that I will have to sell out, it just means that I will have to let somebody step in my place. Because I can't always be this person, I can't always be the mystery, the man who comes on the turntables and everybody comes into the room to hear him ... this kind of success, it's like, live it, love it, loath it, all these things. Desire it, but don't obsess over it because it will fucking destroy you."
the People's Champ
New member
I believe omar santana is hardcore. supergirl, what kind of house do you mainly listen to? house music rules. trance is CRAP. used to listen to some industrial, went to industrial clubs more than anything. but now I am a houser, or as they say, a junglist.
