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Robert Hood - Minimal Nation - M-Plant - Detroit Techno

Robert Hood - Minimal Nation - M-Plant - Detroit Techno
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Track Listing

A1 One Touch
A2 Museum
B1 SH.101
B2 Rhythm Of Vision
C1 Unix
C2 Ride
D1 Station Rider E
D2 Self Powered
E Sleep Cycle
F Rhythm Of Vision (Original)
CD1-1 One Touch
CD1-2 Museum
CD1-3 SH.101
CD1-4 Rhythm Of Vision
CD1-5 Unix
CD1-6 Ride
CD1-7 Station Rider E
CD1-8 Self Powered
CD1-9 Sleep Cycle
CD1-10 Rhythm Of Vision (Original)

Media Condition » Mint (M)
Sleeve Condition » Mint (M)
Artist Robert Hood
Title Minimal Nation
Label M-Plant
Catalogue M.PM1LP
Format Vinyl 12 Inch
Released 2009
Genre Detroit Techno

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Other Titles by Robert Hood

Hoodmusic 1Hoodmusic 2Hoodmusic 3Internal EmpireMaster BuilderMaster BuilderMinimal Nation inc CDRed Passion IIStereotype EPThe Pace / Wandering EndlesslyThe Pace / Wandering Endlessly

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Underground ResistanceSuburban KnightRandom Noise GenerationSteve PoindexterTheo ParrishBottom Feeders, TheInner City69Phase90EMBFascinating RhythmFade To Black2 The Hard WayOpen House & Placid AnglesNomadicoBileebobAux 88KloutModel 500FlexitoneParis Plural (3)Omar-SBang The PartyDJ RolandoTres DementedBangoBridgett GraceCallowayChaosConmenJeff MillsDean & DelucaRhythim Is Rhythim & Derrick May & MaydayKenny LarkinCircuit BreakerInnerzone OrchestraRhythim Is RhythimH & MGlobal Electronic Network

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Information on the Detroit Techno Genre

Detroit techno is an early style of electronic music beginning in 1980s. Detroit has been cited as the birthplace of techno music. Prominent Detroit Techno artists include Juan Atkins, Derrick May, and Kevin Saunderson. A distinguishing trait of Detroit techno is the use of analog synthesizers and early drum machines, particularly the Roland TR-909, or, in later releases, the use of digital emulation to create the characteristic sounds of those machines.

Detroit techno music was originally thought of as a subset to Chicago's early style of house. However, some critics believe that the Detroit techno movement was an adjunct to house music, named for the new style of music played at a Chicago nightclub called "The Warehouse". Although producers in both cities used the same hardware and even collaborated on projects and remixes together, Detroiters traded the choir-friendly vocals of House with metallic clicks, robotic voices and repetitive hooks reminiscent of an automotive assembly line. Many of the early techno tracks had futuristic or robotic themes, although a notable exception to this trend was a single by Derrick May under his pseudonym Rhythim Is Rhythim, called Strings of Life. This vibrant dancefloor anthem was filled with rich synthetic string arrangements and took the underground music scene by storm in May 1987. With subtle differences between the genres, clubs in both cities included Detroit techno and Chicago house tracks in their playlists without objection from patrons (or much notice by non-audiophiles).

The three individuals most closely associated with the birth of Detroit techno as a genre are Juan Atkins, Kevin Saunderson and Derrick May, also known as the "Belleville Three". These three high school friends from the Detroit suburb would soon find their basement tracks in dancefloor demand, thanks in part to seminal Detroit radio personality The Electrifying Mojo. Ironically, Derrick May once described Detroit techno music as being a "complete George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.

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