Hoe kwam Jarre eigenlijk op dat idee?
- Thread starter Hanz
- Start date
Juan Atkins is the godfather of house & Techno, zijn Cybotron project uit 1982 kan je nu gerust nog draaien op mennig technofeest en niemand die er wat van zal zeggen.
alle voorgenoemde plaatjes en artiesten icl Kraftwerk, Frankie K, jarre ed zijn van grote invloed geweest maar zal je NOOIT onder de noemer techno of house kunnen plaatsen.
Juan Atkins dus, al in 1982 ECHTE techno zoals we die nu kennen en niet muziek die LIJKT op techno/house.
alle voorgenoemde plaatjes en artiesten icl Kraftwerk, Frankie K, jarre ed zijn van grote invloed geweest maar zal je NOOIT onder de noemer techno of house kunnen plaatsen.
Juan Atkins dus, al in 1982 ECHTE techno zoals we die nu kennen en niet muziek die LIJKT op techno/house.
kratarknathrak
All hail the dark lord!
Ik heb die tijd meegemaakt, dus ik kan hier licht op schijnen. Het is ontstaan doordat een DJ in de Ancienne Belgique (zaal in Brussel, geloof ik) de 7" Single "Flesh" van A split second, per ongeluk instarte op 33 toeren +8 pitch. A SPlit second was een middenmotertje in de Electronic Body Music, een genre wat destijds nog werdt gedomineerd door Front242, Nitzer Ebb, Front Line Assembly en Skinny Puppy. De trage bassige sound die ontstond door het te traag afspelen van EBM platen viel in de smaak, en zo onstond New Beat, wat al zeer snel kruisbestuivde met Acid en house, en binnen een jaar of twee ten gronde ging aan zijn eigen succes.
In tegenstelling tot New Beat, bestaat aartsvader-tegen-wil-en-dank A Split Second tegenwoordig nog, en zijn zelfs weer actief geworden, met de opkomst van de huidige generatie Electronic Body Music (Terence Fixmer, Hocico, VNV Nation, Decoded Feedback)
die new beat, das toch in 1989 zo ongeveer? new beat, das toch ook geen echte house, t lijkt erop.
klinkt nu ook zwaar veroudert.
Ik blijf erbij dat Juan Atkins met Cybotron in 1982 al echte techno maakt, die je nu nog zo op een techno-house-feest kan draaien.
JUAN ATKINS IS THE KING OF HOUSE & TECHNO
Maar wie is dan de godfather van Juan Atkins?
.... By the late '70s/early '80s, these kids found some of that identity in Italian disco and German art-rock, especially the hard, electronic, minimalist beats of Dusseldorf's groundbreaking Kraftwerk. A popular local radio DJ — Charles Johnson, a.k.a. The Electrifyin' Mojo — mixed up all sorts of European dance music and American new wave and funk.
According to Spin editor Simon Reynolds' well-researched book about the global dance-music scene, "Generation Ecstasy," a Euro fascination swept through Detroit in the '80s, elevating continental acts such as Front 242, Depeche Mode, and Meat Beat Manifesto as well as new-wave American groups such as Devo, the B-52's and Talking Heads to star status. The Euro attitude can best be summed up in the title of a recent song by Underground Resistance: "Afrogermanic."
(Of course, Detroit wasn't the only scene influenced by Kraftwerk. New York hip-hoppers like Afrika Bambaataa, the Miami bass scene of 2 Live Crew and 69 Boyz, and the early L.A. rap of N.W.A. and Ice-T also would take a few cues from the Germans. But much of the Detroit crew — which fused the hard math of the European avant-garde with the future-funk of black America — plumbed deeper into Kraftwerk's essence.)
There was also an interest in technology and the future. One of Atkins' favorite books of the era was Alvin Toffler's "Future Shock," and Atkins co-compiled "The Technospeak Dictionary." (The scene was also helped by the tumbling cost of technology, especially the Roland 808 and 909 synthesizers.)
.... By the late '70s/early '80s, these kids found some of that identity in Italian disco and German art-rock, especially the hard, electronic, minimalist beats of Dusseldorf's groundbreaking Kraftwerk. A popular local radio DJ — Charles Johnson, a.k.a. The Electrifyin' Mojo — mixed up all sorts of European dance music and American new wave and funk.
According to Spin editor Simon Reynolds' well-researched book about the global dance-music scene, "Generation Ecstasy," a Euro fascination swept through Detroit in the '80s, elevating continental acts such as Front 242, Depeche Mode, and Meat Beat Manifesto as well as new-wave American groups such as Devo, the B-52's and Talking Heads to star status. The Euro attitude can best be summed up in the title of a recent song by Underground Resistance: "Afrogermanic."
(Of course, Detroit wasn't the only scene influenced by Kraftwerk. New York hip-hoppers like Afrika Bambaataa, the Miami bass scene of 2 Live Crew and 69 Boyz, and the early L.A. rap of N.W.A. and Ice-T also would take a few cues from the Germans. But much of the Detroit crew — which fused the hard math of the European avant-garde with the future-funk of black America — plumbed deeper into Kraftwerk's essence.)
There was also an interest in technology and the future. One of Atkins' favorite books of the era was Alvin Toffler's "Future Shock," and Atkins co-compiled "The Technospeak Dictionary." (The scene was also helped by the tumbling cost of technology, especially the Roland 808 and 909 synthesizers.)
Celebrating twenty years of pioneering production and worldwide mix-master fame, the Godfather of Techno, Juan Atkins begins Om Record's first chapter in "Legends," the essential collection of innovators writing electronic music's history. "Legends" is the living testament to the staying power of electronic culture.
Juan Atkins truly is a legend in his own time. Appearing behind aliases such as Cybotron, Model 500 and Infiniti, he has released many classics of sublime Detroit techno, including the 1982 electro track "Clear." Recorded by Atkins and Rick Davis as Cybotron, this track is often considered the first proto-techno track. Experimenting with fusing the extra-terrestrial funk of Parliament Funkadelic with the futuristic rhythms and hard math of Kraftwerk and the progressive dance theorems proposed by Giorgio Moroder, the Model 500 12"s laid the blueprint for Detroit Techno. Along with the tracks made by two schoolmates from the grade below, Derrick May and Kevin Saunderson, Detroit Techno quickly made
Juan Atkins truly is a legend in his own time. Appearing behind aliases such as Cybotron, Model 500 and Infiniti, he has released many classics of sublime Detroit techno, including the 1982 electro track "Clear." Recorded by Atkins and Rick Davis as Cybotron, this track is often considered the first proto-techno track. Experimenting with fusing the extra-terrestrial funk of Parliament Funkadelic with the futuristic rhythms and hard math of Kraftwerk and the progressive dance theorems proposed by Giorgio Moroder, the Model 500 12"s laid the blueprint for Detroit Techno. Along with the tracks made by two schoolmates from the grade below, Derrick May and Kevin Saunderson, Detroit Techno quickly made
Juan Atkins (by John Bush)
At the dawn of the 1980s, Juan Atkins began recording what stands as perhaps the most influential body of work in the field of techno. Exploring his vision of a futuristic music which welded the more cosmic side of Parliament funk with rigid computer synth-pop embodied by Kraftwerk and the techno-futurist possibilities described by sociologist Alvin Toffler (author of The Third Wave and Future Shock), Atkins blurred his name behind aliases such as Cybotron, Model 500 and Infiniti — all, except for Cybotron, comprised solely of himself — to release many classics of sublime Detroit techno.
And though it's often difficult (and misleading) to pick the precise genesis for any style of music, the easiest choice for techno is an Atkins release, the 1982 electro track "Clear," recorded by Atkins and Rick Davis as Cybotron. He soon left the progressively album-oriented Cybotron to begin working alone, and released his most seminal material from 1985 to 1989 as Model 500 And while fellow Detroit legends Kevin Saunderson and Derrick May were known for their erratic output during the following decade, Atkins recorded much more during the 1990s than he had during the '80s, soaking up new rhythmic elements from contemporary dance music but keeping his unerring, instantly recognizable sense of melody intact throughout.
As the electronic scene began looking back to the past to find musical innovators, Atkins was a name much-discussed and -anthologized, hailed as the godfather of techno. Born in Detroit in 1962 (the son of a concert promoter), Juan Atkins began playing bass as a teenager and then moved on to keyboards and synthesizers, after being turned on to their use in Parliament records. Two local DJs, Ken Collier and the Electrifyin' Mojo, first introduced Atkins to a wide range of other synthesizer-driven bands — Kraftwerk, Telex, Gary Numan, Prince, the B-52's — in the late '70s.
Atkins then turned on two friends he had met (initially through his younger brother) while attending Belleville Junior High School, Derrick May and Kevin Saunderson. He also bought his first synthesizer, a Korg MS10, and began recording with cassette decks and a mixer for overdubs. Hoping to learn more about the burgeoning field of musical electronics after high-school graduation, Atkins studied at Washtenaw County Community College in nearby Ypsilanti; there he met Rick Davis, a Vietnam War veteran, synthesizer expert and fellow Electrifyin' Mojo devotee — Davis had even released an experimental record used by Mojo to open his radio show.
The two began recording as Cybotron and released their first single, "Alleys of Your Mind," in 1981 on their own Deep Space Records. The clever balance of urban groove and synthesizer futurism signaled the new electro wave in black music; though crossover success for electro was quite limited, it went on to become one of the most influential styles for the new electronic music of the next decade. "Alleys of Your Mind" got immediate play from Electrifyin' Mojo and became a big local hit, even though most listeners had no idea it was recorded in Detroit, or America for that matter. The 1982 single "Cosmic Cars" also did well, and Cybotron recorded their debut album, Enter.
Then the group signed a deal with Fantasy Records to reissue the album. One track, "Clear," was a quasi-instrumental which set the blueprint for what would later be called techno. Instead of merely reworking elements of Kraftwerk into a hip-hop context (which proved the basis for many electro tracks), "Clear" was a balanced fusion of techno-pop and club music. Unfortunately, competing visions for the future of the group forced him to leave the group by 1983. Davis and new member Jon 5 argued to pursue a musical direction closer to rock & roll, while Atkins wanted to continue in the vein of "Clear." (Cybotron carried on in the direction proposed by Davis, and was promptly forgotten.)
Juan Atkins had no trouble staying busy during the mid-'80s. He continued working with the music collective Deep Space Soundworks which he, May and Saunderson had founded in 1981 to provide a club-based forum for their music. Later, the Deep Space family founded their own club, the Music Institute, in the heart of downtown Detroit. It soon became the hub of the Motor City's growing underground family, a place where May, Atkins and Saunderson DJed along with fellow pioneers like Eddie "Flashin" Fowlkes and Blake Baxter. The club invigorated the fractured sense of community in Detroit, and inspired second-wave technocrats like Carl Craig, Stacey Pullen, Kenny Larkin and Richie Hawtin (Plastikman).
Of course, Atkins continued recording during this time, and the period from 1985 to 1987 proved to be his most influential period. He founded his own label, Metroplex Records, in 1985 and recorded his first single as Model 500, "No UFO's." Derrick May, who was living in Chicago at the time, invited Atkins over and told him to bring his records. The duo sold thousands of copies, and "No UFO's" soon became a hit with Chicago mix shows like the Hot Mix Five. Later Metroplex singles like "Night Drive," "Interference" and "The Chase" also sold well and set the template for Detroit techno; moody and sublime machine music, inspired by the drone of automated factories and trips down the I-96 freeway late at night.
By 1988, Britain had caught up with the advanced music coming from Chicago and Detroit; soon Atkins, May and Saunderson made their first trip (of hundreds) across the Atlantic, in Atkins' case before thousands of people at one of the open-air raves typical of England's Summer of Love. Acts like 808 State, A Guy Called Gerald, LFO and Black Dog began due in large part to the influence of Atkins, and the man himself was invited to remix current pop acts like Fine Young Cannibals, Seal, Tom Tom Club, the Beloved and the Style Council.
Though dance music in Great Britain shifted its course radically from 1989 to 1991 (to the burgeoning, cartoonish sounds of rave and hardcore), others in Europe were quick to take up the cause of championing Detroit's techno elite.
First, the Belgian R&S Records began releasing stellar work by a cast of techno inheritors including New Yorker Joey Beltram and Europeans C.J. Bolland and Speedy J. By 1993, Berlin's Tresor Records had picked up the baton as well, issuing American projects by second-wave Detroit producers Underground Resistance (as X-101), Jeff Mills, Blake Baxter and Eddie Fowlkes.
Atkins visited the label's studio in 1993 and worked with 3MB, the in-house production team of Thomas Fehlmann and Moritz Von Oswald (both of whom were to go on to better things, in Sun Electric and Basic Channel/Maurizio, respectively). He returned to Berlin several years later to begin recording what was, surprisingly, his first album since the days of Cybotron. Finally, in mid-1995, R&S released the debut Model 500 album, Deep Space; more importantly, the label also released Classics, a crucial compilation of Model 500's best Metroplex singles output.
Another retrospective, Tresor's Infiniti Collection, traced Atkins' work as Infiniti, recorded from 1991 to 1994 for a variety of labels including Metroplex and Chicago's Radikal Fear. Several years passed before he released any additional material, but it came with a rush during 1998-99. First in September 1998, Tresor released an album of new Infiniti recordings named Skynet. One month later, the American label Wax Trax! released a Juan Atkins mix album. Finally, in early 1999, the second full Model 500 album Mind and Body was released on R&S Records.
— John Bush
At the dawn of the 1980s, Juan Atkins began recording what stands as perhaps the most influential body of work in the field of techno. Exploring his vision of a futuristic music which welded the more cosmic side of Parliament funk with rigid computer synth-pop embodied by Kraftwerk and the techno-futurist possibilities described by sociologist Alvin Toffler (author of The Third Wave and Future Shock), Atkins blurred his name behind aliases such as Cybotron, Model 500 and Infiniti — all, except for Cybotron, comprised solely of himself — to release many classics of sublime Detroit techno.
And though it's often difficult (and misleading) to pick the precise genesis for any style of music, the easiest choice for techno is an Atkins release, the 1982 electro track "Clear," recorded by Atkins and Rick Davis as Cybotron. He soon left the progressively album-oriented Cybotron to begin working alone, and released his most seminal material from 1985 to 1989 as Model 500 And while fellow Detroit legends Kevin Saunderson and Derrick May were known for their erratic output during the following decade, Atkins recorded much more during the 1990s than he had during the '80s, soaking up new rhythmic elements from contemporary dance music but keeping his unerring, instantly recognizable sense of melody intact throughout.
As the electronic scene began looking back to the past to find musical innovators, Atkins was a name much-discussed and -anthologized, hailed as the godfather of techno. Born in Detroit in 1962 (the son of a concert promoter), Juan Atkins began playing bass as a teenager and then moved on to keyboards and synthesizers, after being turned on to their use in Parliament records. Two local DJs, Ken Collier and the Electrifyin' Mojo, first introduced Atkins to a wide range of other synthesizer-driven bands — Kraftwerk, Telex, Gary Numan, Prince, the B-52's — in the late '70s.
Atkins then turned on two friends he had met (initially through his younger brother) while attending Belleville Junior High School, Derrick May and Kevin Saunderson. He also bought his first synthesizer, a Korg MS10, and began recording with cassette decks and a mixer for overdubs. Hoping to learn more about the burgeoning field of musical electronics after high-school graduation, Atkins studied at Washtenaw County Community College in nearby Ypsilanti; there he met Rick Davis, a Vietnam War veteran, synthesizer expert and fellow Electrifyin' Mojo devotee — Davis had even released an experimental record used by Mojo to open his radio show.
The two began recording as Cybotron and released their first single, "Alleys of Your Mind," in 1981 on their own Deep Space Records. The clever balance of urban groove and synthesizer futurism signaled the new electro wave in black music; though crossover success for electro was quite limited, it went on to become one of the most influential styles for the new electronic music of the next decade. "Alleys of Your Mind" got immediate play from Electrifyin' Mojo and became a big local hit, even though most listeners had no idea it was recorded in Detroit, or America for that matter. The 1982 single "Cosmic Cars" also did well, and Cybotron recorded their debut album, Enter.
Then the group signed a deal with Fantasy Records to reissue the album. One track, "Clear," was a quasi-instrumental which set the blueprint for what would later be called techno. Instead of merely reworking elements of Kraftwerk into a hip-hop context (which proved the basis for many electro tracks), "Clear" was a balanced fusion of techno-pop and club music. Unfortunately, competing visions for the future of the group forced him to leave the group by 1983. Davis and new member Jon 5 argued to pursue a musical direction closer to rock & roll, while Atkins wanted to continue in the vein of "Clear." (Cybotron carried on in the direction proposed by Davis, and was promptly forgotten.)
Juan Atkins had no trouble staying busy during the mid-'80s. He continued working with the music collective Deep Space Soundworks which he, May and Saunderson had founded in 1981 to provide a club-based forum for their music. Later, the Deep Space family founded their own club, the Music Institute, in the heart of downtown Detroit. It soon became the hub of the Motor City's growing underground family, a place where May, Atkins and Saunderson DJed along with fellow pioneers like Eddie "Flashin" Fowlkes and Blake Baxter. The club invigorated the fractured sense of community in Detroit, and inspired second-wave technocrats like Carl Craig, Stacey Pullen, Kenny Larkin and Richie Hawtin (Plastikman).
Of course, Atkins continued recording during this time, and the period from 1985 to 1987 proved to be his most influential period. He founded his own label, Metroplex Records, in 1985 and recorded his first single as Model 500, "No UFO's." Derrick May, who was living in Chicago at the time, invited Atkins over and told him to bring his records. The duo sold thousands of copies, and "No UFO's" soon became a hit with Chicago mix shows like the Hot Mix Five. Later Metroplex singles like "Night Drive," "Interference" and "The Chase" also sold well and set the template for Detroit techno; moody and sublime machine music, inspired by the drone of automated factories and trips down the I-96 freeway late at night.
By 1988, Britain had caught up with the advanced music coming from Chicago and Detroit; soon Atkins, May and Saunderson made their first trip (of hundreds) across the Atlantic, in Atkins' case before thousands of people at one of the open-air raves typical of England's Summer of Love. Acts like 808 State, A Guy Called Gerald, LFO and Black Dog began due in large part to the influence of Atkins, and the man himself was invited to remix current pop acts like Fine Young Cannibals, Seal, Tom Tom Club, the Beloved and the Style Council.
Though dance music in Great Britain shifted its course radically from 1989 to 1991 (to the burgeoning, cartoonish sounds of rave and hardcore), others in Europe were quick to take up the cause of championing Detroit's techno elite.
First, the Belgian R&S Records began releasing stellar work by a cast of techno inheritors including New Yorker Joey Beltram and Europeans C.J. Bolland and Speedy J. By 1993, Berlin's Tresor Records had picked up the baton as well, issuing American projects by second-wave Detroit producers Underground Resistance (as X-101), Jeff Mills, Blake Baxter and Eddie Fowlkes.
Atkins visited the label's studio in 1993 and worked with 3MB, the in-house production team of Thomas Fehlmann and Moritz Von Oswald (both of whom were to go on to better things, in Sun Electric and Basic Channel/Maurizio, respectively). He returned to Berlin several years later to begin recording what was, surprisingly, his first album since the days of Cybotron. Finally, in mid-1995, R&S released the debut Model 500 album, Deep Space; more importantly, the label also released Classics, a crucial compilation of Model 500's best Metroplex singles output.
Another retrospective, Tresor's Infiniti Collection, traced Atkins' work as Infiniti, recorded from 1991 to 1994 for a variety of labels including Metroplex and Chicago's Radikal Fear. Several years passed before he released any additional material, but it came with a rush during 1998-99. First in September 1998, Tresor released an album of new Infiniti recordings named Skynet. One month later, the American label Wax Trax! released a Juan Atkins mix album. Finally, in early 1999, the second full Model 500 album Mind and Body was released on R&S Records.
— John Bush
Cybotron
Cybotron
Group formed in: 1980, Detroit, MI | Members: Juan Atkins & 3070 (Rick Davis)
The seminal electro group Cybotron provided the first home for the recordings of techno godfather Juan Atkins. With partner Rick Davis (aka 3070), Atkins recorded several of electro's best moments. The singles "Alleys of Your Mind," "Enter" and "Clear," were dark dystopias of the post-industrial steel city within tight Kraftwerk-inspired funk. Their success prompted Fantasy Records to sign the group, and release 1983's Enter LP. Atkins left soon after due to artistic differences (specifically, Davis' defined pop slant), and later defined early Detroit techno with his recordings as Model 500. Davis continued to release albums as Cybotron into the mid-'90s, though the mystical R&B direction of efforts like Empathy and Cyber Ghetto were quite a turn from the group's beginnings. For fans of electro and techno, Cybotron ended when Juan Atkins left.
Cybotron
Group formed in: 1980, Detroit, MI | Members: Juan Atkins & 3070 (Rick Davis)
The seminal electro group Cybotron provided the first home for the recordings of techno godfather Juan Atkins. With partner Rick Davis (aka 3070), Atkins recorded several of electro's best moments. The singles "Alleys of Your Mind," "Enter" and "Clear," were dark dystopias of the post-industrial steel city within tight Kraftwerk-inspired funk. Their success prompted Fantasy Records to sign the group, and release 1983's Enter LP. Atkins left soon after due to artistic differences (specifically, Davis' defined pop slant), and later defined early Detroit techno with his recordings as Model 500. Davis continued to release albums as Cybotron into the mid-'90s, though the mystical R&B direction of efforts like Empathy and Cyber Ghetto were quite a turn from the group's beginnings. For fans of electro and techno, Cybotron ended when Juan Atkins left.
Origineel geplaatst door Bass
Giorgio Moroder
..hij begon alle 'dance' met I Feel Love van Donna Summer...
alle dance behalve house en techno want ik kan me geen 1 plaat herinneren die ik zo ik dat genre kan plaatsen.
Giorgio Moroder is gewoon lekkere synthpop-disco. ook een belangrijke invloed geweest voor Juan Atkins, niet meer dan dat.
Juan Atkins (Cybotron) is echt de uitvnder van house en techno. ik zou zeggen ga die cybotron nummers effe luisteren.
Ik ben het grotendeels met de Juan liefhebber eens! Ook een van mijn all time helden. Menig set van me zit wel iets van hem in. Als je hem nu ziet schrik je je bijna kapot, is weinig meer van um over... jammer. Maar goed...
lees: http://www.globaldarkness.com/articles/juan_atkins_model_500_cybotron_bio.htm
Maar jah, waar begon het?
Juan haalde z'n ideeen ook weer ergens vandaan, Kraftwerk, Mantronix, Parlement en ga zo maar door. En inderdaad, leuke draad na 780 maanden ;-P
lees: http://www.globaldarkness.com/articles/juan_atkins_model_500_cybotron_bio.htm
Maar jah, waar begon het?
Juan haalde z'n ideeen ook weer ergens vandaan, Kraftwerk, Mantronix, Parlement en ga zo maar door. En inderdaad, leuke draad na 780 maanden ;-P
ik snap nooit niet goed waarom mensen steeds op zoek zijn (en zogezegd in staat zijn om ) dé grondlegger/uitvinder van een genre
deze uitvinders/grondleggers zijn mensen zoals jij en ik : mensen met een muzikale bagage en voorliefde waarmee ze dan zelf muziek willen maken waarbij bepaalde beperkingen een troef kunnen zijn.
Een 'totaal nieuw' genre uitvinden is volgens mij nog nooit gebeurd, nieuwe genres evolueren vanuit bestaande genres.
Ik begrijp de link tussen Jarre en techno érgens wel : Jarre is één van de bekendere syntgebruikers, en de eerste technopeople waren vermoedelijk ook wel synthliefhebbers en omdat de 808/909/303 bijna geen geld kostten toen wegens niet aan de straatstenen kwijt te geraken werden die toestellen toen gebruikt...nu lijkt het voor sommigen zo geniaal dat die mannen toen een 909/808 en 303 'kozen' om er 'nieuwe' muziek mee te maken maar zo is het dus niet gegaan...die gasten wilden gewoon ook muziek maken en om dit zo goedkoop mogelijk te doen, zijn ze met die bakken begonnen maar volgens mij helemaal niet 'bewust' om 'nieuwe muziek ' te maken
Ik vind het dan ook moeilijk om te kunnen zeggen 'dat is nu eens de enige echte grondlegger van de house' want alle mensen reeds opgenoemd, hebben de mosterd ook wel bij iemand anders gehaald
confetti's/newbeat : sorry maar dat was toen ook alweer een commercieel/flauw afkooksel van de muziek die toen plots populair was in clubs, zeer bizar 'new beat' genoemd want het begon allemaal met toen al (oude' platen (bvb Flesh van 'A split second' was een klassieker in de clubs maar was al 5 jaar oud ! toen al die ouwe electro/new wave etc redelijk wat succes begon te krijgen , zijn er mensen a la confetti's op de kar gesprongen die dan dan 'new' beat gingen maken...een beetje een flauwe makeover van dingen die al +5 jaar oud waren)
deze uitvinders/grondleggers zijn mensen zoals jij en ik : mensen met een muzikale bagage en voorliefde waarmee ze dan zelf muziek willen maken waarbij bepaalde beperkingen een troef kunnen zijn.
Een 'totaal nieuw' genre uitvinden is volgens mij nog nooit gebeurd, nieuwe genres evolueren vanuit bestaande genres.
Ik begrijp de link tussen Jarre en techno érgens wel : Jarre is één van de bekendere syntgebruikers, en de eerste technopeople waren vermoedelijk ook wel synthliefhebbers en omdat de 808/909/303 bijna geen geld kostten toen wegens niet aan de straatstenen kwijt te geraken werden die toestellen toen gebruikt...nu lijkt het voor sommigen zo geniaal dat die mannen toen een 909/808 en 303 'kozen' om er 'nieuwe' muziek mee te maken maar zo is het dus niet gegaan...die gasten wilden gewoon ook muziek maken en om dit zo goedkoop mogelijk te doen, zijn ze met die bakken begonnen maar volgens mij helemaal niet 'bewust' om 'nieuwe muziek ' te maken
Ik vind het dan ook moeilijk om te kunnen zeggen 'dat is nu eens de enige echte grondlegger van de house' want alle mensen reeds opgenoemd, hebben de mosterd ook wel bij iemand anders gehaald
confetti's/newbeat : sorry maar dat was toen ook alweer een commercieel/flauw afkooksel van de muziek die toen plots populair was in clubs, zeer bizar 'new beat' genoemd want het begon allemaal met toen al (oude' platen (bvb Flesh van 'A split second' was een klassieker in de clubs maar was al 5 jaar oud ! toen al die ouwe electro/new wave etc redelijk wat succes begon te krijgen , zijn er mensen a la confetti's op de kar gesprongen die dan dan 'new' beat gingen maken...een beetje een flauwe makeover van dingen die al +5 jaar oud waren)
Laatst gewijzigd:
True. Als het maar "ziek is"
Ik vraag me af wanneer ik me ticket boek en de boel hier verkoop
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