DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

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DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

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INFO https://books.google.gr/books/about/Tec ... edir_esc=y

https://www.google.com/search?q=Dan+Sic ... s-wiz-serp

https://pitchfork.com/news/43838-rip-jo ... dan-sicko/


Dan Sicko has written for numerous publications, including Rolling Stone, Wired, and Urb, and is a creative director with a Detroit-area advertising agency.
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

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Book
Foreword


By Bill Brewster.
Just Be Tiësto


Since Techno left Michigan and headed out east it has been widely misunderstood while critics have merrily deracinated its origins to the point where plenty probably still believe it began in Holland when Tiësto’s mum gave birth to a cute-as-a-button trance superstar.
Faces & Phases Kevin Saunderson


Most of Detroit’s musical past is well documented, from John Lee Hooker’s urban blues to the modern jazz of Elvin Jones and Milt Jackson; the Gospel of Aretha and the Clark Sisters, the Hard Rock of MC5, Bob Seger and Ted Nugent and Tamla Motown’s conveyor belt of Soul stars. But techno? Well, of course we know it really comes from Detroit and that its pioneers were Derrick May, Juan Atkins, and Kevin Saunderson.
Paradise Garage


Devoid of any bands, swimming pool–based antics, and, crucially, lyrics, dance music has often been ill served by its writers, who either seem keen to regurgitate cultural theory master’s theses as plain truth or get basic facts wrong (the Paradise Garage in New Jersey, anyone?)
Sharevari
A Number of Names
Sharevari (1981) [Single]

A Detroit insider, Sicko detailed the primary influence of DJs and producers like the Electrifying Mojo, Ken Collier, The Wizard, and Richard Davis and took us into a world of high school parties, electronic bleepery, and questionable Italian fashions that was a world apart from anything happening in New York or Los Angeles. (For a glimpse of this era, go to YouTube and type in “Sharevari” and “The Scene,” the local TV dance show.)

AD
Don Quichotte / Circonvolution
Magazine 60
Don Quichotte / Circonvolution (1984) [Single]

Sicko’s book follows techno’s trail as it hits Britain and Germany before ending back in the United States, where it was briefly sold to the public as part its ill-conceived “electronica” boom (a dark period when Detroit’s viscerating rhythms were somehow lumped in with Dirty Vegas’s dance-pop and the Prodigy’s electro-pantomime). In this new edition of his 1999 classic, Sicko delves deeper into Detroit’s role in the development of techno and asks crucial questions such as how The Wizard became Jeff Mills and what the blazes were Magazine 60 singing about on Don Quichotte.
LateNightTales Presents After Dark: Nightshift Bill Brewster


Bill Brewster, www.djhistory.com
Preface
Homogenic Björk


I had been away from Iceland for over a year and when I returned for New Year I stayed on top of a mountain. I went for a walk on my own and I saw the ice was thawing in the lava fields. All I could hear was the crackle of the ice, echoing over hundreds of square miles. It was pitch black, the northern lights were swirling around and just below them was a layer of thick cloud. I could see the lights from all the towns of my childhood mirrored in the reflection of these clouds, with the lava fields crackling below. It was really techno.

Björk Gudmundsdóttir
It’s been ten years, and I’ve still got a major crush on Björk. Well, at least her unwavering championing of electronic music and her casual use of “Techno” as an adjective.
Live at the Liquid Room - Tokyo Jeff Mills


Jeff Mills’s transformation into “The Wizard” is something I can finally get into in more detail, and it helps introduce a topic that didn’t bubble up as much as I thought it would in the first edition.
Enter Cybotron


Aside from scanning through microfilm of the Ann Arbor News for pictures of Cybotron, and that fun little anomaly known as “the Belleville Three,” it wasn’t worth taking Techno Rebels too far west of Detroit. Now it makes a lot more sense once you consider WCBN, Mojo’s beginnings, and the emergence of Ghostly International.

Ghostly International
It would also be an understatement to say that much has happened since 1999: Detroit’s Electronic Music Festival (2000 Detroit Electronic Music Festival Day 1), Ghostly, the steady migration of musicians to Berlin, and the birth and death of dozens of subgenres.

AD
The Bunker Podcast 175 Rob Theakston


Thank you to everyone who made this edition possible, especially Amy Anabel, Rob ‘Lifecoach’ Theakston, Dave Walker, Aran Parillo, Matt MacQueen, Bill Brewster, Ben Mullins, Chris Petersen, Andy Wotta, Jen Hansen, Pete Jacokes and the entire Detroit improv community, Jeff Mills, Sam Valenti IV, Jason Huvaere, Brian Gillespie, Derek Plaslaiko, Peter Wohelski, Marsel Van Der Wielen, Dan Gresham, Jeremy ‘Sinistarr’ Howard, Jon Santos, Brendan Gillen, Doug Coombe, Todd Johnson, Hassan Nurullah, Clark Warner, Liz Warner, Ian Malbon, Hans Veneman, Eddie Otchere, Phil Knott, Gary Arnett, ‘jm3’ (John Manoogian III), Kathy Wildfong, Kristin Harpster Lawrence and all at WSU Press, Matt Becker, Dogfish Head brewery, the Hospital Records podcast, WFMU, and all those hunting down used copies.
Chapter 1: “Welcome to the Machine”


America Wakes Up to Techno, 1997–2010
20 Years 1985 - 2005 Juan Atkins


In this country it’s very hard for creative thought to escape capitalism.

Juan Atkins, “The Roots of Techno,” Wired, No. 2.07, P. 96
Pull Over (Remixes)
Speedy J
Pull Over (Remixes) (1990) [EP]

Techno spread to more countries and cultures faster than any music genre in recent history. In Japan, techno artist Ken Ishii was comissioned to write the opening and closing themes for the 1998 Winter Olympics in Nagano. In the Netherlands, Speedy J’s “Pull Over” hit the Top 40 in 1990.
Blue Potential
Jeff Mills
Blue Potential (2006)

On July 2, 2005, Detroit techno pioneer Jeff Mills performed several of his works in Pont du Gard, France, accompanied by the seventy-piece Montpellier Philharmonic Orchestra. (Jeff Mills / Montpellier Philharmonic Orchestra, Blue Potential.)
Recomposed by Carl Craig & Moritz von Oswald: Music by Maurice Ravel & Modest Mussorgsky
Carl Craig & Moritz von Oswald
Recomposed by Carl Craig & Moritz von Oswald: Music by Maurice Ravel & Modest Mussorgsky (2008)

That same year, Carl Craig and Moritz von Oswald “recomposed” material from recordings of Ravel’s Boléro and Modest Mussorgsky for Deutsche Grammophon.
Loveparade 2008


And in Germany, the massive, twenty-year-old Love Parade—an annual street festival featuring nonstop electronic dance music—continues to attract millions of participants each year. (Loveparade 2008.)

AD
Movement Detroit 2010 - Day 1


Even Detroit, the spiritual if not technical home to techno music, has now seen its tenth electronic music festival (Movement Detroit 2010 - Day 1) in Hart Plaza along the Detroit River.
Born Slippy
Underworld
Born Slippy (1995) [Single]

Techno has also become increasingly noticeable in the world of film, picking up steam with the work of Englishman Danny Boyle. The introduction to Boyle’s 1994 film Shallow Grave and the pivotal emotional finish of his 1996 film Trainspotting feature the music of Leftfield and Underworld, respectively.
Blade - Music From and Inspired by the Motion Picture
Various Artists
Blade - Music From and Inspired by the Motion Picture (1998) [Compilation]

American films have tended to opt for the compilation-friendly “soundtrack,” like that of Blade, rather than an entire score written by one artist.
The Saint
Orbital
The Saint (1997) [Single]

There have been some interesting exceptions, however, including Orbital’s energetic theme for the 1997 film The Saint (a reworking of the theme from the old TV show of the same name) and a clever interweaving of techno and narrative in 1998’s Pi.
Days Go By
Dirty Vegas
Days Go By (2001) [Single]

Advertising agencies also latched on tightly, putting electronica to work in television commercials. A commercial for the Mitsubithi Eclipse began airing in 2002 with “Days Go By” by the group Dirty Vegas providing the soundtrack for a “pop-locking” front passenger. Whether Dirty Vegas’s music was “techno” per se or what spontaneous dancing had to do with selling cars didn’t seem to matter.
No UFO's / Future
Model 500
No UFO's / Future (1985) [Single]

A Model 500 song was used to market the Ford Focus; Hummer was propped up on the music of Matthew Dear; and Dabrye’s beats found their way into a Motorola commercial.
Organic Festival


Along with the all-night outdoor electronica festival known as Organic (Organic Festival),¹ (MTV’s weekly late-night show) Amp proved to be one of techno’s most compelling outlets in the United States at the time.

1. Organic was held in California’s San Bernardino National Forest on June 22, 1996, and featured live performances by the Orb, the Chemical Brothers, Orbital, Underworld, Meat Beat Manifesto, and Loop Guru.
Modulations
Modulations (1998)
Techno was also given play in the United States with Iara Lee’s 1998 film Modulations, a series of vignettes that loosely traces the development of electronic music from 1910 to present. Lee’s ninety-minute narrative pans the music’s continuum, from the industrial Noise of Luigi Russolo in 1913 to the turntable kinetics of the Invisbl Skratch Piklz in the late 1990s.
High Tech Soul: The Creation of Techno Music
High Tech Soul: The Creation of Techno Music (2006)
The specific story of Detroit’s contribution has been documented on film with Gary Bredow’s High Tech Soul in 2006 and mounted as a techno music exhibit titled “Techno: Detroit’s Gift to the World” at the Detroit Historical Museum from January 2003 to August 2004.
Media Muddling
Hype!
Hype! (1996)
This lack of in-depth coverage isn’t unique to techno—coverage of the Pacific Northwest’s “Grunge” scene between 1989 and 1990 was similarly rushed and cursory. Doug Pray’s brilliant and acerbic 1996 documentary Hype! put this land of superficiality on trial, showing how both the press and the music industry tried to sum up decades of musical development with only one or two acts and the ephemeral chic of flannel. (As the film explained, people wear flannel clothing in Seattle because it’s cold and rainy, not because they’re trendsetters.) A dismayed Eddie Vedder of Pearl Jam gave the best and simplest critique of grunge’s press coverage: “They [the press] made a mistake. . . . They didn’t go further and check out other bands.”
Brothers and Systems
Exit Planet Dust
The Chemical Brothers
Exit Planet Dust (1995)

The U.S. music industry really started noticing techno after New York’s Astralwerks, a semi-autonomous branch of Virgin Records, brought the Chemical Brothers’ 1995 album Exit Planet Dust to American audiences, giving English band members Tom Rowlands and Ed Simons their first break in the United States.
Block Rockin' Beats
The Chemical Brothers
Block Rockin' Beats (1997) [Single]

Only a few years later, the group’s 1997 album Dig Your Own Hole had gone gold in the United States and platinum worldwide, with one track—“Block Rockin’ Beats”—winning the 1998 Grammy Award for best rock instrumental.
The Fat of the Land The Prodigy


Not long after the Chemical Brothers made their presence known, Madonna’s label Maverick signed another English act: the Prodigy. Under the direction and production skills of Liam Howlett, the Prodigy had been trying to connect with U.S. audiences for years, with limited success.
Decksandrumsandrockandroll Propellerheads


Electronica now had two solid pillars to build upon, giving other English groups like Underworld, Propellerheads, Portishead, and Fatboy Slim something to stand on as they made the leap to U.S. audiences.
Walk This Way
Run-D.M.C.
Walk This Way (1986) [Single]

Together, guitar riffs and breakbeats connected electronica to the combination Americans already knew and loved: that of rock and hip-hop,⁵ tracing back to Run-DMC’s 1986 breakthrough “Walk This Way” and Beastie Boys’ records old and new.

5. This hybrid would later be refined and renamed “Big Beat.”
Missing Channels

Motown Records
But just as techno represents an antithesis to the music industry, it is also very much of the industry. From the remnants of Detroit’s old Motown musical legacy to the Billboard charts, techno has plenty of untold or undiscovered American heritage that exists well within the confines of popular music, including links to Disco, Soul, and R&B.
Head Hunters Herbie Hancock


“All we can hope is that this music (techno) will be accepted as something different and marketed as such,” he (Astralwerks’s Peter Wohelski) said. “I wouldn’t market a Herbie Hancock record the way I would market a Pearl Jam record, would I? All we can hope is that it will be accepted on its own musical merit, instead of [as] this bastard stepchild . . . that it will be accepted as an honored, full-fledged member of the music industry as a genre.”
And Time Becomes a Loop
Telesender EP Alan D. Oldham


In the short timeframe between the early and mid-1980s, the world of popular music was up for grabs. The ebb of disco could still be heard and felt, and the crossover monoliths of the mid-1980s—Michael Jackson, George Michael, and Madonna—had not yet emerged to dominate the industry. In this window of musical opportunity, all manner of sounds came crashing through under the catch-all term “New Wave.” Techno producer and former radio DJ Alan Oldham describes this period as “back when MTV wasn’t dictating the style [and] when black kids weren’t penalized for being into rock.”
Die Mensch-Maschine Kraftwerk


It was in this open period that the somewhat auestere German group Kraftwerk emerged to prominence, becoming an integral link to future styles like techno and House. As Mark Sinker and Tim Barr posited in The History of House, “With all eyes on the Beatles and the Rolling Stones, almost no one in the mid-1960s could have predicted that two students studying highbrow musical theory at Dusseldorf [sic] Conservatory would go on to unveil the future.”
Autobahn
Kraftwerk
Autobahn (1974)

Starting with 1974’s Autobahn, Kraftwerk single-handedly moved electronic instrumentation out of the cloistered workspaces of inventors and theoreticians and into the bloodstream of popular music. The group’s transformation from progressive rockers to purveyors of techno-pop is documented in Pascal Bussy’s biography Kraftwerk: Man, Machine and Music. Writes Bussy, “This [Autobahn] once again could have put Kraftwerk back in a category with the ‘conceptual rock’ of Pink Floyd or King Crimson.”
Trans Europa Express
Kraftwerk
Trans Europa Express (1977)

By the time Kraftwerk recorded Trans-Europe Express in 1977 and Computer World in 1981, its meticulousness in the studio was reflected in a much-imitated straight-laced appearance and a seamless, machine-perfect sound.
Planet Rock
Afrika Bambaataa & The Soul Sonic Force
Planet Rock (1982) [Single]

The legacy of Kraftwerk’s sound can be neatly traced to many more recent forms of electronic music. The group’s direct influence on New York’s Afrika Bambaataa and the Soulsonic Force and producer Arthur Baker, for example, resulted in Bambaataa’s 1982 record “Planet Rock,” which exploded onto the dance scene and helped define the genre “Electro” (short for “electronic funk”), changing forever the way hip-hop would be produced.
Homecomputer / It's More Fun to Compute
Kraftwerk
Homecomputer / It's More Fun to Compute (1997) [Single]

Kraftwerk would also influence several other European and American sounds. Many Chicago House pioneers cite Kraftwerk’s 1981 record “Home Computer” as an early reference point.
Numbers/Computer•World..2 / Computer Love
Kraftwerk
Numbers/Computer•World..2 / Computer Love (1981) [Single]

Likewise, electro and pre-techno artists in Detroit drew inspiration from the bizarre portamento riffs and lyrical minimalism of the group’s “Numbers,” also released in 1981.
Ralf & Florian
Kraftwerk
Ralf & Florian (1973)

This connection between Detroit and Kraftwerk may seem mysterious until one looks between original members Ralf Hütter and Florian Schneider—literally. On stage and on many of their album covers, group members Karl Bartos and Wolfgang Flur were placed in the middle, performing the group’s electronic percussion duties. Bartos and Flur were added at separate intervals—just after the Autobahn and Ralf & Florian albums, respectively. With this dedicated rhythm section, Kraftwerk’s sound took on a new dimension, bringing it closer to soul and dance music (and Detroit), and farther from musical theory.
Trans-Europe Express / Europe Endless
Kraftwerk
Trans-Europe Express / Europe Endless (1977) [Single]

Just as critics were beginning to understand the Beach Boys’ influence on vocal harmonies in the Autobahn album, Kraftwerk’s love of soul and dance music started to significantly work its way into the group’s music. As former Kraftwerk member Karl Bartos explains, “We were all fans of American music: soul, the whole Tamla/Motown thing, and of course James Brown. We always tried to make an American rhythm feel, with a European approach to harmony and melody.” This combination is audible at least as far back as “Trans-Europe Express” in 1977, but is most pronounced in the group’s 1983 hit single “Tour de France.”
Tour de France
Kraftwerk
Tour de France (1983) [Single]

Probably Kraftwerk’s most explicit and visceral emulation of a real-world object, “Tour de France” bases its rhythm around the chain, pedal, and gear sounds of bicycles.
Cold Sweat (Parts 1 & 2)
James Brown and The Famous Flames
Cold Sweat (Parts 1 & 2) (1967) [Single]

Intentionally or otherwise, the metallic gliding and ticking of these sounds recalls the tight, rhythmic guitar work of Jimmy Nolen on James Brown staples like “Cold Sweat.”
Electric Cafe
Kraftwerk
Electric Cafe (1986)

By the time Electric Café was released in 1986, Americans were well versed in Kraftwerk, thanks to adventurous radio programmers in tune with disco and Progressive Rock, and to the group’s inclusion in the new wave and “Neue Deutsche Welle” scenes of England and Germany.
Computer Games George Clinton


Many historical reconstructions of techno’s past name Kraftwerk and Funk music as the sole influences on early techno. Perhaps it was this quote from techno pioneer Derrick May that set the precedent for this connection: “The music [techno] is just like Detroit—a complete mistake. It’s like George Clinton and Kraftwerk stuck in an elevator.” If only May could collect royalties on this sound bite! Intended as an off-the-cuff remark, it was quickly snapped up by the European press and has been used as a textbook definition for techno ever since.
Children of Production
Berry Gordy


Within the city’s African American community was a generation of young adults looking to escape the legacies of Berry Gordy and George Clinton, or maybe already detecting conservative and formulaic tendencies in black radio.
Interstellar Fugitives Underground Resistance


Indeed, techno’s underlying philosophy has less to do with futurism, as is commonly believed, than with the power of the individual and personal visions of Utopia. Even the most “hard core” and militant-sounding techno groups, like Detroit’s Underground Resistance, have lofty, Roddenberry-like ideals at heart—scenarios where race is no longer an issue.
Chapter 2: “Party Out of Bounds”


The Pre-History of Techno, 1978–1983
Chapter 3: “Time to Express”


Techno’s First Artists Emerge, 1981–1989
Chapter 4: “Nation to Nation”


Finding a Home in Britain’s Rave Culture, 1988–1991
Chapter 5: “Off to Battle”


Redefining the Detroit Underground, 1990–1995
Chapter 6: “Applied Technology”


The Myth of Techno Collides with Reality, 1991–2001
Chapter 7: “Beyond the Dance”


The Future Sound of Techno, 1999–?
Index
Foreword
Just Be Tiësto
It Serve You Right to Suffer John Lee Hooker
Illumination! Elvin Jones
Bags & Trane Milt Jackson
I Never Loved a Man the Way I Love You Aretha Franklin
Sing Sing Sing! The Clark Sisters
Kick Out the Jams MC5
Night Moves Bob Seger
Ted Nugent Ted Nugent

Tamla Motown
Innovator: Soundtrack for the Tenth Planet Derrick May
20 Years 1985 - 2005 Juan Atkins
Faces & Phases Kevin Saunderson
Paradise Garage
The Electrifying Mojo: Radio Broadcast The Electrifying Mojo
Ken Collier
Live at the Liquid Room - Tokyo Jeff Mills
Methane Sea Richard Davis
Sharevari
A Number of Names
Sharevari (1981) [Single]
Days Go By Dirty Vegas
The Fat of the Land The Prodigy
LateNightTales Presents After Dark: Nightshift Bill Brewster
Preface
Enter Cybotron
Let's Go X-Ray
The Electrifying Mojo: Radio Broadcast The Electrifying Mojo

Ghostly International
2000 Detroit Electronic Music Festival Day 1
2000 Detroit Electronic Music Festival Day 2
2000 Detroit Electronic Music Festival Day 3
The Bunker Podcast 175 Rob Theakston
LateNightTales Presents After Dark: Nightshift Bill Brewster
Sam Valenti IV
The True Story of a Detroit Groove Derek Plaslaiko
Little Spaces Nu:Tone
BS6 Sinistarr
Jon Santos
BMG
Doug Coombe
GhostlyCast #29 Clark Warner
Phil Knott

Hospital Records
Chapter 1: “Welcome to the Machine”
20 Years 1985 - 2005 Juan Atkins
Jelly Tones Ken Ishii
Ginger Speedy J
Pull Over (Remixes)
Speedy J
Pull Over (Remixes) (1990) [EP]
Live at the Liquid Room - Tokyo Jeff Mills
Jeff Mills / Montpellier Philharmonic Orchestra
Blue Potential
Jeff Mills
Blue Potential (2006)
More Songs About Food and Revolutionary Art Carl Craig
Recomposed by Carl Craig & Moritz von Oswald: Music by Maurice Ravel & Modest Mussorgsky Moritz von Oswald
Recomposed by Carl Craig & Moritz von Oswald: Music by Maurice Ravel & Modest Mussorgsky
Carl Craig & Moritz von Oswald
Recomposed by Carl Craig & Moritz von Oswald: Music by Maurice Ravel & Modest Mussorgsky (2008)
Maurice Ravel Plays Ravel Maurice Ravel
Boléro
Pictures at an Exhibition; Night on the Bare Mountain (Warsaw National Symphony Orchestra/Witold Rowicki) Модест Мусоргский [Modest Mussorgsky]

Deutsche Grammophon
Loveparade 2008
Movement Detroit 2010 - Day 1
Movement Detroit 2010 - Day 2
Movement Detroit 2010 - Day 3
Danny Boyle
Shallow Grave: Music From the Motion Picture
Various Artists
Shallow Grave: Music From the Motion Picture (1995) [Compilation]
Shallow Grave
Shallow Grave (1994)
Born Slippy
Underworld
Born Slippy (1995) [Single]
Trainspotting
Trainspotting (1996)
Leftism Leftfield
Dubnobasswithmyheadman Underworld
Blade - Music From and Inspired by the Motion Picture
Various Artists
Blade - Music From and Inspired by the Motion Picture (1998) [Compilation]
Blade
Blade (1998)
In Sides Orbital
The Saint
Orbital
The Saint (1997) [Single]
The Saint
The Saint (1997)
The Saint
Edwin Astley
The Saint (1966)
π (Pi)
Various Artists
π (Pi) (1998) [Compilation]
π [Pi]
π [Pi] (1998)
Days Go By
Dirty Vegas
Days Go By (2001) [Single]
Days Go By Dirty Vegas
Deep Space Model 500
No UFO's / Future
Model 500
No UFO's / Future (1985) [Single]
Don and Sherri / Elementary Lover
Matthew Dear
Don and Sherri / Elementary Lover (2007) [Single]
Black City Matthew Dear
Three / Three Dabrye
One/Three
Dabrye
One/Three (2001)
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by VacantJoy »

Organic Festival
The Orb's Adventures Beyond the Ultraworld The Orb
Dig Your Own Hole The Chemical Brothers
Satyricon Meat Beat Manifesto
Duniya Loop Guru
Iara Lee
Modulations
Modulations (1998)


AD
Die Kunst der Geräusche Luigi Russolo
The Shiggar Fraggar Show! Vol. 1 Invisibl Skratch Piklz
Gary Bredow
High Tech Soul: The Creation of Techno Music
High Tech Soul: The Creation of Techno Music (2006)
Doug Pray
Hype!
Hype! (1996)
Into the Wild Eddie Vedder


AD
Ten Pearl Jam

Astralwerks

Virgin Records
Exit Planet Dust
The Chemical Brothers
Exit Planet Dust (1995)
Through Me / Nothing But Pleasure Tom Rowlands
Ed Simons
Dig Your Own Hole
The Chemical Brothers
Dig Your Own Hole (1997)


AD
Block Rockin' Beats
The Chemical Brothers
Block Rockin' Beats (1997) [Single]
Ray of Light Madonna

Maverick
The Fat of the Land The Prodigy
The Dirtchamber Sessions Volume One Liam Howlett
Decksandrumsandrockandroll Propellerheads
Dummy Portishead
You've Come a Long Way, Baby Fatboy Slim
Raising Hell Run-D.M.C.
Walk This Way
Run-D.M.C.
Walk This Way (1986) [Single]
Paul's Boutique Beastie Boys

Motown Records
Head Hunters Herbie Hancock
Thriller Michael Jackson
Faith George Michael
Telesender EP Alan D. Oldham
Die Mensch-Maschine Kraftwerk
Abbey Road The Beatles
Sticky Fingers The Rolling Stones
Autobahn
Kraftwerk
Autobahn (1974)
Pascal Bussy
The Dark Side of the Moon Pink Floyd
In the Court of the Crimson King King Crimson
Trans Europa Express
Kraftwerk
Trans Europa Express (1977)
Computerwelt
Kraftwerk
Computerwelt (1981)
Planet Rock: The Album Afrika Bambaataa & The Soul Sonic Force
Breaker's Revenge Arthur Baker
Planet Rock
Afrika Bambaataa & The Soul Sonic Force
Planet Rock (1982) [Single]
Homecomputer / It's More Fun to Compute
Kraftwerk
Homecomputer / It's More Fun to Compute (1997) [Single]
Numbers/Computer•World..2 / Computer Love
Kraftwerk
Numbers/Computer•World..2 / Computer Love (1981) [Single]
Ralf Hütter
Stop Plastic Pollution Florian Schneider
Off the Record Karl Bartos
Magazine 1 Wolfgang Flür
Ralf & Florian
Kraftwerk
Ralf & Florian (1973)
Pet Sounds The Beach Boys

Tamla Records
'Live' at the Apollo James Brown
Trans-Europe Express / Europe Endless
Kraftwerk
Trans-Europe Express / Europe Endless (1977) [Single]
Tour de France
Kraftwerk
Tour de France (1983) [Single]
Jimmy Nolen
Cold Sweat (Parts 1 & 2)
James Brown and The Famous Flames
Cold Sweat (Parts 1 & 2) (1967) [Single]
Electric Cafe
Kraftwerk
Electric Cafe (1986)
Innovator: Soundtrack for the Tenth Planet Derrick May
Computer Games George Clinton
Berry Gordy
Interstellar Fugitives Underground Resistance
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by VacantJoy »

unfortunately its only the first chapter so its incomplete
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Re: DAN SICKO (US) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999)

Post by Henrik »

Recordings are mentioned, but it seems more like a list of artists.
Everyone you meet fights a battle you know nothing about. Be kind. Always.
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by VacantJoy »

Henrik wrote: Sat Jul 29, 2023 6:22 am Recordings are mentioned, but it seems more like a list of artists.
An obsessive index of Dan Sicko’s Techno Rebels: The Renegades of Electronic Funk, a book about the history of Techno and its origins in Detroit. This list aims to catalog every artist, concert, label, release, and venue mentioned in the book’s second edition, published April 2010.

yeap you are right because its the second edition of 2010 , my mistake ! The first one is from 1999 i hope we add it one day !

FIXED IT !
Last edited by VacantJoy on Sat Jul 29, 2023 1:33 pm, edited 2 times in total.
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by Henrik »

VacantJoy wrote: Sat Jul 29, 2023 1:26 pm
Henrik wrote: Sat Jul 29, 2023 6:22 am Recordings are mentioned, but it seems more like a list of artists.
An obsessive index of Dan Sicko’s Techno Rebels: The Renegades of Electronic Funk, a book about the history of Techno and its origins in Detroit. This list aims to catalog every artist, concert, label, release, and venue mentioned in the book’s second edition, published April 2010.

yeap you are right because its the second edition of 2010 , my mistake ! The first one is from 1999 i hope we add it one day !

FIXED IT !
I’m still confused. Is it a list of best music (eligible)? Or a list of artists and releases mentioned in the book (ineligible)?
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by VacantJoy »

Henrik wrote: Sat Jul 29, 2023 6:31 pm
VacantJoy wrote: Sat Jul 29, 2023 1:26 pm
Henrik wrote: Sat Jul 29, 2023 6:22 am Recordings are mentioned, but it seems more like a list of artists.
An obsessive index of Dan Sicko’s Techno Rebels: The Renegades of Electronic Funk, a book about the history of Techno and its origins in Detroit. This list aims to catalog every artist, concert, label, release, and venue mentioned in the book’s second edition, published April 2010.

yeap you are right because its the second edition of 2010 , my mistake ! The first one is from 1999 i hope we add it one day !

FIXED IT !
I’m still confused. Is it a list of best music (eligible)? Or a list of artists and releases mentioned in the book (ineligible)?
its about the history of Techno Music with both music and artists
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by Henrik »

VacantJoy wrote: Sat Jul 29, 2023 9:15 pm
Henrik wrote: Sat Jul 29, 2023 6:31 pm
VacantJoy wrote: Sat Jul 29, 2023 1:26 pm

An obsessive index of Dan Sicko’s Techno Rebels: The Renegades of Electronic Funk, a book about the history of Techno and its origins in Detroit. This list aims to catalog every artist, concert, label, release, and venue mentioned in the book’s second edition, published April 2010.

yeap you are right because its the second edition of 2010 , my mistake ! The first one is from 1999 i hope we add it one day !

FIXED IT !
I’m still confused. Is it a list of best music (eligible)? Or a list of artists and releases mentioned in the book (ineligible)?
its about the history of Techno Music with both music and artists
Then it doesn’t seem eligible. It has to be a list of the best/greatest music from the genre.
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by VacantJoy »

Henrik wrote: Sat Jul 29, 2023 9:45 pm
VacantJoy wrote: Sat Jul 29, 2023 9:15 pm
Henrik wrote: Sat Jul 29, 2023 6:31 pm

I’m still confused. Is it a list of best music (eligible)? Or a list of artists and releases mentioned in the book (ineligible)?
its about the history of Techno Music with both music and artists
Then it doesn’t seem eligible. It has to be a list of the best/greatest music from the genre.
https://www.factmag.com/2012/04/09/10-b ... to-read/6/

i definetely vote in favor of it , its a LANDMARK book on electronic music
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Re: DAN SICKO (USA) - TECHNO REBELS: THE RENEGADES OF ELECTRONIC FUNK (1999) / 2nd Edition (2010)

Post by Daliella »

This is a decent book, but imo, it's written in a somewhat dry style and doesn't always delve into the details and reasons behind events. At times, it feels more like it's written by an outsider conducting research.
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