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In the early 1980s, Derrick May was one of a triumvirate of techno pioneers in Detroit who began providing a soundtrack for the future. May was friends with Kevin Saunderson and Juan Atkins at junior high school in Belleville. Atkins turned them on to music by the likes of Giorgio Moroder, Kraftwerk and the sprawling Clinton/Parliament/Funkadelic funk beast. The ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

enjoyed. ‘If I can’t dance, it’s not my revolution.’ Emma Goldman, American feminist writer Styles Disco House Acid House Tribal/Progressive House Hardcore Happy Hardcore Trance Jungle Drum’n’Bass Techno Gabba Breakbeat Big Beat UK Garage US Garage Tech-House Dance Style As it is made for dancing to, dance music is characterized by a strong, steady drum beat. ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

of the masses and the industrialized world, the first Futurist concert took place in Milan, Italy, in 1914. The driving concepts behind Futurism are still inherent in techno and electro, in which contemporary electronic styles try to define and capture the essence of the post-industrial world. By the 1920s, Leon Theremin had developed the theremin instrument ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

the follow-up to A Rush… progressed. Expectation was high, and when X&Y was finally delivered in 2005, fans seemed pleased that the album was not in fact a techno record – although elements of Kraftwerk were slightly evident on single ‘Talk’. The tours got bigger still, culminating in a busy week in June 2005, when the band ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

‘Rock Me Amadeus’, 1986 Perhaps Austria’s great pop export, Falco (born Johann Hölzl) was a classically trained child prodigy who later fronted a jazz rock combo. His early career mixed a lot of techno-synths with German rap, and he even had a single, ‘Jenny’, banned. ‘Rock Me Amadeus’ played on his classical background, fusing synths with classical ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

was a tribute to Gene Vincent’s guitarist Cliff Gallup. Who Else! (1999), You Had It Coming (2001) and Jeff (2003) all set Beck’s guitar against a varying backdrop of techno beats and electronica. Live Beck! (2006), recorded in 2003, and Live Bootleg USA 06 (2006), faithfully captured his concert performances. In recent years, Beck has opened for ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

career. Crystal Planet (1998) evoked comparisons with Surfing With The Alien, with its signature power ballads, anthems and rockers. Engines Of Creation (2000) was more experimental, incorporating techno and electronica. Strange Beautiful Music (2002), Is There Love In Space (2004) and Super Colossal (2006) have all brought the guitar back to the fore, showing that the Hendrix ...

Source: Rock Guitar Heroes, consultant editor Rusty Cutchin

track was criticized for being unpatriotic, leading Madonna, uncharacteristically, to withdraw it. As a result of the row, the album, a blend of acoustic and techno, suffered commercially. Confessions On A Dance Floor (2005) returned Madonna to straightforward dance music, but her personal life, including marriage to and divorce from film director Guy ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

Yorker Richard Melville Hall started his career in punk Vatican Commandos before becoming fascinated by the sound and possibilities of dance music when it emerged during the 1980s. Ambient and techno works won him club reputation with tracks like ‘Go’ and ‘I Feel It’ seeping into the lower branches of UK charts. His abilities continued to develop throughout the 1990s reflected ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

the band on bass). The band returned to rock with Give Out, But Don’t Give Up (1994) and further dub-like sonic explorations on Vanishing Point (1997). Restless explorations yielded techno guitar fuzz of XTRMTR (2000) and reversion to rock fare on Riot City Blues (2006) and Beautiful Future (2008). Styles & Forms | Nineties | Rock Personalities | Primus | ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

The five members of Radiohead are the same today as they were on the day they formed. Thom Yorke (born 7 October 1968, vocals, guitar, piano), Jonny Greenwood (born 5 November 1971, lead guitar, effects), Ed O’Brien (born 15 April 1968, guitar, vocals), Phil Selway (born 23 May 1967, drums) and Colin Greenwood ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

Slim, Norman Cook extolled the virtues of the Roland machine in ‘Everybody Needs A 303’, while in the illegal warehouse parties of London and beyond, the punishing-yet-cerebral acid techno of labels such as Stay Up Forever, Smitten and Cluster became the soundtrack of choice at squat party raves. ‘DJ Pierre was over and he was just messing with ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

only ones to experiment with technology. While regularly busking in Edinburgh, the Newfoundland-born fiddle and bagpipe player Martyn Bennett one day found himself playing jigs and reels to a techno backing track. The crowd liked it and so did Bennett, who went on to make a couple of breakthrough techno folk records, notably Bothy Culture. The Scots have ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

subtle electronic nuances of Plaid, Autechre, Speedy J, Black Dog and B12 to a wide audience. Orbital’s Yellow and Brown albums documented ambient’s influence on dance floor techno and Tom Middleton’s Global Communications project debuted with the haunting textures of the 76:14 album. Meanwhile, German producer Peter Namlook, along with Wagon Christ’s Phat Lab Nightmare and ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Vaka have been followed by Oceania, a Maori group that performs haka singing, and Wai, whose Wai 100% album staked a claim to containing the first Maori techno recordings, along with traditional musicians, action sounds, samples and hip hop rhythms. ‘I’m using white man’s skills, Yolngu [Aborigine] skills and putting them together for a new ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer
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