Is the ORGINATORORGINATOR of techno music, the source of the group of genres lumped under the umbrella category of electronica, and was the first person to apply the word "techno" to music. He found new ways of making sound, and in so doing he influenced nearly every genre of music in the 1980s and beyond. Yet his name is not well known beyond the world of electronic dance music. He might, in fact, be one of the most obscure of modern music's true pioneers.

Techno had its origins in Detroit, Michigan, where Atkins was born on September 12, 1962. As a child he lived on the city's north-west side. Techno is often associated in the

minds of its fans with Detroit's often bleak landscape, scarred with the abandoned buildings that were relics of an industrial golden age. But techno's first stirrings took place 30 miles to the west in Belleville, Michigan, near an interstate highway leading to Detroit's center, but otherwise very much a small town partly sur-rounded by farmland. While attending junior high and high school in Belleville, Atkins met Derrick May and Kevin Saunderson, who also became artists crucial to techno's development. The trio would later become known as the "Belleville Three."

Atkins's father was a concert promoter, and Atkins became interested in music at an early age. Especially compelling for him was Charles Johnson, a Detroit radio disc jockey called the Electrifying Mojo, one of the last "freeform" DJs who flourished on commercial radio in the United States. His shows mixed many genres and forms, but he focused on the 1970s funk of artists such as George Clinton, Parliament, and Funkadelic (which had some Detroit roots of its own). He was also one of just a few DJs who presented the pulsing, ex-perimental electronic music of the German ensemble Kraftwerk on U.S. radio. "If you want the reason [techno] happened in Detroit," Atkins told the Village Voice, "you have to look at a DJ called Electrifying Mojo: he had five hours every night, with no format restrictions. It was on his show that I first heard Kraftwerk."

In the early 1980s Atkins worked toward combining Kraftwerk's electronics with funk's big beats and spacey atmospheres. He took up keyboards as a teenager and began experimenting with a mixing board and a cas-sette tape player. He enrolled at Washtenaw Community College, located near Belleville. There he learned the basics of electronic sound production from fellow student Rick Davis, a Vietnam War veteran who owned an array of innovative equipment, including one of the first sequencers (a device allowing the organization of electronic sound) released by the Roland Corporation. "He was very isolated," Atkins told the Village Voice. But the experience transformed Atkins's outlook. "I was around when you had to get a bass player, a guitar-ist, a drummer to make records," he told the Village Voice. "I wanted to make electronic music but thought you had to be a computer programmer to do it. I found out it wasn't as complicated as I thought."

JUANJUAN THE ORGINATORTHE ORGINATOR

Atkins teamed up with Davis (who called himself 3070) and, billing themselves as Cybotron, the two released the single "Alleys of Your Mind" in 1981. The name Cybotron reflected the duo's futuristic interests. "Alleys of Your Mind" did very well for a release by a pair of unknown community college students, selling some 15,000 copies in the Detroit area after the Electrifying Mojo aired it on his radio program.

In 1982 Cybotron released "Clear," whose cool electronic sound would mark it in the minds of many enthusi-asts as a milestone in electronic music's evolution. "Clear" was almost wordless. Techno as a genre tended to use text only as a rhythmic element or adornment---when it used text at all. The following year they re-leased "Techno City," which gave the new music a name; the term was anticipated and perhaps inspired by futurist Alvin Toffler's book The Third Wave (1980), which used the term "techno rebels." Atkins and Davis eventually went their separate ways, but by that time Atkins had taken other steps to popularize the new mu-sic he was in the process of creating. With May and Saunderson he formed a collective enterprise, Deep Space Soundworks, which launched the downtown Detroit club known as the Music Institute. The club in-spired a new group of techno DJs, including Carl Craig and Richie Hawtin, also known as ‘Plastikman’.

Atkins continued to record in the middle and late 1980s, now using the name Model 500. His releases of this period, including "No UFO's" (1985) and the evocative "Night Drive," are considered techno classics. Spare and polished, they inspired a host of younger electronic musicians in Europe, where techno was more popu-lar than in the United States. They were released on Atkins's Metroplex label (which he also used to nurture the careers of younger Detroit musicians), and some were collected in the 1990s on the Classics album re-leased by Belgium's R&S label. These recordings helped to define a new form of nightclub culture in the United States, and especially in England, where Atkins and Saunderson found their greatest popularity. Though techno music often had a fast beat, it wasn't the deep, intense pulsation of disco and the popular dance music that succeeded it; instead, Atkins's music had a mechanistic sheen that encouraged the pursuit of a blissful attitude rather than sheer sweaty sensuality. At all-night "raves," participants alternately revved themselves up with fast dance tracks and cooled down with slower, dreamier ones in different rooms of the same building. It was often Atkins who provided the soundtrack; he made the first of many European trips in 1988. The cool quality of Atkins's music was famously described by May and quoted in the Village Voice as "like George Clinton and Kraftwerk stuck in an elevator." It helped inspire the new genre of ambient techno, created at the hands of DJs who combined techno music with the intentionally featureless "ambient" sounds of musical experimenter Brian Eno. The late 1980s were probably the high point of Atkins's fame, and in England he was invited to do remixes of hits by top acts such as the Style Council, the Tom Tom Club, and the Fine Young Cannibals. He cut back his activities in the early 1990s, although he released several re-cordings on which he billed himself as “Infiniti”...■

KKEVINKEVIN THE ELEVATORTHE ELEVATORTHE ELEVATOR

Is respected and acknowledged around the World as one of the three Detroit Techno innovators. The ELEVATORELEVATOR, Kevin Saunderson is a legend in his own right, who has helped to reshape the future of Dance music as we know it! Kevin was born in Brooklyn, New York in 1964, but moved at the age of nine to the place known as the Motor City', Detroit. He attended Belleville High School (West of Detroit), where his youthful urge to make music had been fuelled. There he befriended two other like-minded students (Atkins and May). After leaving school he attended Eastern Michigan University in Ypsilanti, MI where he played Football and DJ’ed at various fraternal parties then known on campus as “DJ Resse.” After 2 years at EMU Kevin quit playing football in order to focus on music, so he joined his high school Pals: Derrick May and Juan Atkins, known in Detroit as the DJ group at the time would be the move that would help Kevin's career escalate. Starting out as a DJ, Kevin soon developed new skills that led him into producing records, which he released on his own label, KMS Records. The demand for Kevin as a Pro-ducer and DJ was overwhelming overseas, as well as in the States. He introduced acts like 'Kreem', 'Reese', 'Inter-City' (later to become Inner City) and 'Reese & Santonio'. Kevin has had many other aliases too, such as; 'Tronik House', 'The Reese Project', 'EssRay', 'Kaos' and more recently, 'E-Dancer', which he uses to show his versatility at being able to create different facets of Dance music. Kevin also pioneered the art of the "REMIX," changing the face of how remixers revamp songs. His very first remix for The Wee Papa Girl Rappers "Heat It Up" went on to pick up 'DMC Remix of the Year' in spring 1988. Kevin's biggest achievement (to date) and his most commercially recognized project has been INNER CITY, who have come full circle after TEN years, as one of the World's most influential Dance acts. As one of the most important prime time movers in the house and techno revolution of 1988, Kevin Saunder-son and Paris Grey have been to the top, struggled and bounced back to the top of the pile. Now in their thirteenth year together, the duo have proven they are one of dance music’s great survivors with a new dazzling renaissance and they're justifiably proud of a healthy career spanning early pioneering hits like "Big Fun" and "Good Life", "Ain't Nobody Better", through to "Hallelujah", "Pennies From Heaven", "Till We Meet Again", "Do Ya", "Your Love" (to name but a few) and most recently the1999 Spanish re-recording of their 1989 hit "Good Life", (Buena Vida), which soon became a Number One Club hit in Europe and en-tered the TOP TEN on the UK Pop Charts. (The group's latest single, "Good Love", is also destined for success in the UK). Since the beginning, their career has been nothing short of remarkable, not only for their numerous critical and commercial achievements, but also for their longevity. Whilst most acts have been snubbed out at the onset of the 'next big trend', Inner City have managed to sidestep the trends, making "songs that went on to become classics". Amazingly, the good life of being one of the World's top dance groups came to them by accident.

In 1987 Kevin, then at only 22-year-old recorded a backing track in a makeshift studio stuck in the basement of his apartment. He needed a girl vocalist who could also supply lyrics and his friend Chicago house producer, Terry "Housemaster" Baldwin, suggested Windy City Chanteuse Paris Grey. Paris agreed, flew into Detroit, came up with lyrics and "Big Fun" was born. Incredibly the tape was then filed away and almost forgotten until months later when UK dance aficionado, Neil Rushton, visited the Motor City to put together a compilation album, "Techno – The New Dance Sound Of Detroit" for Virgin Records. He freaked when hearing the song and made sure "Big Fun" was on the LP. Soon afterwards, it was released as a single and went on to become a World wide smash. Their debut album, "Paradise" cemented this prosperity and highlighted the De-troit techno blueprint. INNER CITY parted company with their label, Virgin Records. The label released the "Testament" "93" remix album to celebrate their time together. Also in that year they were voted, by the readers of Mixmag Magazine, the "Best International Act of the Year" and a "homecoming" deal with their manager Neil Rushton's SIX6 label was finalized. Another UK Tour followed in August '93, including a headlining appear-ance on the Reading Festival's dance stage and the top slot at the European Dance Weekender in Paris the following month. It was also at this time that Kevin's work with his other group THE REESE PROJECT was greeted with equal glee by journalists and clubbers alike. To date, INNER CITY have had 12 Top 40 hits in the UK, as well as hav-ing had two Top 20 albums, with combined sales of more than 6 million. Inner City has also achieved many awards for outstanding accomplishments, such as 'Best Dance Act in the World' by DMC in 1989 and 1992. INNER CITY has also received 4 Gold singles, 1 Gold Album and 1 Platinum Album. Meanwhile, Kevin's alter ego E-DANCER produces Techno Music, pure and simple. Cre-ated for a savvy audience by an original master. E-DANCER's first full length LP entitled simply "Heavenly", has hooked audiences and critics alike. Even more mains-stream music publications were compelled to take notice. For example Spin Magazine cited "Heavenly" as 'ONE OF THE TEN BEST ALBUMS YOU'VE NEVER HEARD'. Odd praise? Perhaps. But accurate nonetheless, for rarely has a record so "underground" in both profile and content. Indeed, "Heavenly" is a 'Must Have' in any Detroit Techno collection. With his latest two productions, Inner City ‘Say Something’ (Concept) and Reese Project “This Means That” (SuSu) both providing late summer 05 hits in Europe, it all reaffirms Kevin's standing as one of the 'INNOVATORS', and a leader in the industry. One of the most exciting movements for Kevin of 2005, was his new title which has also given him one of the biggest challenges of his career, the Producer of FUSE-IN, the newest reincarnation of Detroit’s 6th electronic festival this Memorial Day weekend at Hart Plaza on May 28th, 29th and 30th, with an outstanding line up which included Mos Def, Ken Ishii, Carl Craig, Kevin Saunderson, Green Velvet, Ritchie Hawtin, Under-ground Resistance, Alexander Robotnick and many more. As Kevin states “What we’ve done in our history in Detroit with techno is a result of a love for all kinds of music, I don’t want this just to be a techno event, I want techno to be the foundation and for people to realize how powerful Detroit has been and still is, I want to put on a good show with good artists so people can be inspired by the music”. During 2005/2006 was a celebration of 20 years of Kevin Saunderson’s music productions with FUSE-In Presents Kevin Saunderson/Elevator World Tour. The tour featured both House and Techno DJ sets plus a live show incorporating all his most popular productions from 1986-2006. This included tracks from E-Dancer, Esser'ay, KRS Experience, Kaos, Key-notes, Reese, Reese + Santonio, Tronikhouse, Kreem, Inner City and The Reese Pro-ject. The live show featured stunning visuals, and crystal clear audio, taking the audi-ence on a breathtaking journey through the roots and soul of Kevin Saunderson from house to techno and back again. These live shows gave Kevin the opportunity to enter-tain and inform his audience on his unique history. This incredible body of work, which for the first time will be under one umbrella, clearly defined and clarified the artistry of the man they call THE ELEVATOR. True to his dream, Kevin Saunderson elevated the deep sound of Detroit Techno and took it from the underground into the hearts and souls of music lovers the world over with his Inner City and The Reese Project recordings. These live events will surely be remembered for years to come as a celebration of the one of the greatest ambassadors for techno to come out of Detroit. ■

DERRICKDERRICK THE INNOVATORTHE INNOVATOR

Of the Belleville Three, the cadre of early Detroit pro-ducers who tested the limits of spirit within electronic dance music and changed the integrity of the form for-ever, the INNOVATORINNOVATOR, Derrick May's reputation as an originator remained intact despite more than a decade of recording inactivity. While Juan Atkins is rightly looked at as the godfather of techno, with a recording career beginning in the electro scene of the early '80s and encompassing some of the most inspired tracks in the history of dance music; and Kevin Saunderson is the Detroit producer with the biggest mainstream suc-cess through his work with vocalist Paris Grey as Inner City, May's position as an auteur eroded slightly during the 1990s due to a largely inexplicable lack of activity. As far as influence counts as part of the equation, however, May recorded the techno tracks which top dance producers point to as the most original and in-fluential. The classic Derrick May sound is a clever balance between streamlined percussion-heavy cas-cades of sound with string samples and a warmth gained from time spent in Chicago, enraptured by the grooves of essential DJs like Ron Hardy and Frankie Knuckles. May's Transmat Records label was the home of his best material, cuts like "Nude Photo," "Strings of Life," "Kaos" and "It Is What It Is," most pro-duced from 1987 to 1989 as Rhythim Is Rhythim.

And though his release schedule all but halted during the 1990s, he continued DJing around the world and-honed Transmat into one of the most respected techno labels in the world. Derrick May was born in Detroit in 1963, a single child raised largely by his mother. At the age of 13, he began attending school in the suburb of Belleville; there he met Juan Atkins and the two began trading mix-tapes, Atkins providing May's entry into the world of Parliament, Kraftwerk and Gary Numan. When his mother moved to Chicago, May stayed in Detroit with another friend, Kevin Saunderson, to finish school. By 1981, Atkins had taught May and Saunderson the essence of DJing as well, and the trio formed Deep Space Soundworks, a collective existing to present their favorite music at parties and clubs. May and Atkins also began working with a local DJ named the Electrifyin' Mojo — the man who first introduced Atkins to Kraftwerk and early synth-pop — by creating elaborate megamixes for use on Mojo's radio show. After high-school graduation May attended a university on a football scholarship. The academic life became tiresome returning to Detroit, where he worked in an arcade. During his frequent trips to Chicago to visit his mother, he had gotten hooked up with Chicago's familial house scene, then in its infancy. May was fascinated by the warmth and community feeling engendered at spots like the Power Plant and the Music Box, where DJs Frankie Knuckles and Ron Hardy used elaborate turntable set-ups and reel-to-reel machines to create master-mixes which re-invoked the spirit of disco even while pushing music forward. May brought Saunderson to the clubs several times as well, and stayed in Chicago for up to a year. When he again returned to Detroit, the need for a club to call his own caused May ,the Deep Space family and others native to that particular music genra to found the Music Institute. It soon became the hub of Detroit's ever-growing underground musical fam-ily, a place where May, Atkins and Saunderson DJ’ed along with cohorts Eddie "Flashin" Fowlkes and Blake Baxter. The club invigorated a badly fractured sense of community for many residents, and changed the lives of second-wave technocrats like Carl Craig, Stacey Pullen, Kenny Larkin and Richie Hawtin.

Though May owned a Roland TR-909 synthesizer, he had done little actual recording by the early '80s. When Juan Atkins hit the big time in 1981 with the local success of his group Cybotron, it influenced May to begin re-cording seriously. He debuted on wax with "Let's Go" (the third release on Atkins' Metroplex Records) and then founded his own Transmat label, a Metroplex subsidiary named after Atkins' track "Night Drive (Time, Space, Transmat)." May introduced Rhythim Is Rhythim, his most important guise, with the Transmat single "Nude Photo." The producer soon followed up with more future classics of the genre: "Freestyle," "Strings of Life," "It Is What It Is" and "Kaos."

Out of those first singles, "Strings of Life" hit Britain in an especially big way during the country's 1987-88 house explo-sion, and May became one of the first American techno artists to tour England. He was also recruited heavily as a re-mixer, for pop bands — eager to gain credit in clubland — as well as straight dance acts. A series of setbacks around the turn of the decade appeared to sour May's fortunes, though. The fertile British rave scene, which had grown in strength from 1986 to 1990, was overwhelmed by music growing ever more frenetic in order to compete with increasing drug intake. Quite soon, most of the successes in British dance music were native hardcore or rave-pop groups (Altern-8, Sunscreem, the Prodigy) while much of clubland forgot its American inspirations in favor of chart-bound novelty tracks.

In 1991, May looked ready to return in a big way; at one point, he considered forming a Kraftwerk-styled techno super-group named Intelex with Atkins and Saunderson. Though negotiations to sign with Trevor Horn's ZTT Records looked promising, the deal eventually fell through, and May later declined several invitations by major labels. In fact, he quit making music for the most part by late 1991 (despite consistent rumors to the contrary), though he did work with ambi-ent pioneer Steve Hillage on tracks for the debut album of Hillage's System 7 project. May continued to DJ around the world, and maintained his standing in the eyes of many top-flight producers. His Transmat label continued to find a home for many of the finest techno singles ever compiled, including tracks by Stacey Pullen's Silent Phase, Juan Atkins' Model 500, Joey Beltram, K-Alexi, Carl Craig's Psyche and Kenny Larkin's Dark Comedy. Finally, in 1995, Sony Japan compiled his most innovative tracks onto the single-disc retrospective Innovator, and May contributed a song to the soundtrack for Sony's video game Ghost in the Shell and other video games designed under the Playstation brand ■

EDDIEEDDIE TECHNOSOUL TECHNOSOUL

All though he was present at the birth of Detroit techno, Eddie "Flashin" Fowlkes, creator of TECHNOSOUL TECHNOSOUL was often overlooked in favor of the more press-hyped "Belleville Three" (Juan Atkins, Derrick May, Kevin Saun-derson). Despite the short-lived disco boom in Detroit, it had the effect of inspiring many individuals to take up mixing, Juan Atkins among them. Subsequently, Atkins taught May how to mix records, and in 1981, "Magic Juan", Derrick "Mayday", in conjunction with three other DJ's, one of whom was Eddie "Flashin" Fowlkes, launched themselves as a DJ groupcrew called Deep Space Soundworks (also referred to as Deep Space). These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs and their music. Groups of DJs began to band together to market their mixing skills and sound sys-tems to the clubs in order to cater to the growing audi-ences of listeners. Locations like local churchs, activity centers, vacant warehouses, offices, and YMCA auditori-ums were the early locations where underage crowds gathered and the musical form was nurtured and defined.

He often DJ’ed at the fabled Detroit club Music Institute and first recorded in 1986 with the "Goodbye Kiss" single for Juan Atkins’' Metroplex Records. Fowlkes also recorded for KMS, 430 West (the seminal single "Inequality"), and Play It Again Sam during the late '80s and early '90s, and released his debut full-length, the hard and soul LP Serious Techno, Vol. 1, in 1991. Another LP from the sessions Deep Detroit Techno-Soul, Vol. 1(emerged that same year, and Fowlkes began recording for other European labels like Infonet, Back to Basics, and Peacefrog as well. His third album for Tresor, Black Technosoul, followed in 1996.

After several Detroit producers experienced tremendous success abroad, Fowlkes gained an album contract with Ger-many's Tresor Records and recorded in Berlin with the in-house production team 3MB (aka Basic Channel). Since 1990 Fowlkes, has been working and producing under his own label for the last 20 years, Cityboy Records. ■

Since establishing Theory Recordings towards the end of 1997, London-based DJ / producer BBENEN S SIMMSIMMS has undergone a swift rise to prominence within the global dance music community. His globally extensive DJ'ing performances have earned him a ranking amongst the world's top techno spinners, many of whom have fully embraced his studio production work. A self-confessed vinyl addict, Ben's own recordings clearly reflect his long-standing passion for groove and funk based music. His production style - an amalgamation of jackin' Chicago funk, driving filtered loops and dark tribal house music provided popular despite the deluge of funk-deficient minimal cuts dominating the techno scene during the late Nineties. In magazine interviews Ben often describes his production of music simply as the natural continuation to many years spent behind the decks. Forging tracks in an energetic metallic mould with a rich, hypnotic consistency, much akin to his DJ'ing style, he admits that his penchant for producing is secondary to his love of playing out. Hence, he views his studio output very much as dance floor music constructed for manipulation by the DJ. ▪ www.outlar.com

A techno producer who thrives most when using stripped-down tracks shaded with darker hues, Berlin's BBENEN K KLOCKLOCK debuted in 1998 as Ben E. Clock with a 12" on his own short-lived Clockworks label. His modest beginning continued with a 2000 12" on WMF, but in 2003 he released a pair of singles -- "Glow" and "Tag der Arbeit" -- on Ellen Allen’s BPitch Control. That allegiance significantly increased his exposure. After a pair of releases on BPitch sublabel Memo, Klock and Marcel Dettermann collaborated on the 2006 maiden re-lease for Ostgut, the label branch of Berlin's Berghain nightclub. Successive Ostgut singles, especially February 2007's "Czeslawa"/"Warszawa," ramped up the anticipation for the first Klock full-length. “One,” the third production album released on Ostgut (following almost uni-versally praised releases from Shed and Prosumer + Murat Tepeli), was issued in March 2009. ▪ Andy Kellman, All Music Guide

BBUZZUZZ "Banging" GGOREEOREE, is an aggressive predator unit. One of UR's new models of Assault DJ's, following in a tradition deep in the (Jeff) Mills based DJ school of UR, located on the North end of Detroit. Used specifically for UR assaults. In the competitive world of Detroit DJing, Buzz has consistently kicked the asses and intimidated many a so-called World DJ. The Detroit guys know about his tenacity and UR control feels that the "Goree" unit is now ready for global assault duty. This unit is by design, tough, aggressive and banging as were his preceding models. There will be no need for 5 star hotels and first class seating on the Air Pimp. Just simply place the unit in front of the UR Swarm and prepare for the Sonic Mayhem!Oh yeah, by the way, have his money ready and beer readily available!! Buzz, also known by his production name "Clandestine" has produced many of the infamous standard unobtain-able UR Assault DJ Ammo tracks: "Z" records. These specifically created records are for UR Assault DJ use only. The unit comes armed with these and other records which he has created as an tactical advantage over rivals. ▪

RROBERTOBERT H HOODOOD makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. Having recorded for Metroplex, as well as the Austrian Cheap label and Jeff Mills’ Axis label, Hood also owns and operates the M-Plant imprint, through which he's re-leased the bulk of his solo material. Hood was a founding member, along with Jeff Mills and Mike Banks, of Underground Resistance record label, whose influential releases throughout the early and mid '90s helped change the face of modern Detroit techno and sparked a creative renais-sance. Infusing elements of acid and industrial into a potent blend of Chicago house and Detroit techno, UR's aesthetic project and militant business philosophy were (and remain) singular com-mitments in underground techno. Hood left Detroit (and UR) with Jeff Mills in 1992, setting up shop in New York and recording a series of 12-inch EPs. Through the mid '90s, Hood has focused on his solo work, setting up M-Plant in 1994 and releasing singles such as "Internal Empire," "Music Data," and "Moveable Parts." Point Blank' took Hood's hypnotic minimalism to entirely new depths and territories, whilst his latest album ‘'Wire To Wire' takes his productions onto new levels of musicality and sophistication within the world of electronic music. ▪ www.outlar.com

Since establishing Theory Recordings towards the end of 1997, London-based DJ / producer BBENEN S SIMMSIMMS has undergone a swift rise to prominence within the global dance music commu-nity. His globally extensive DJ'ing performances have earned him a ranking amongst the world's top techno spinners, many of whom have fully embraced his studio production work. A self-confessed vinyl addict, Ben's own recordings clearly reflect his long-standing passion for groove and funk based music. His production style - an amalgamation of jackin' Chicago funk, driving filtered loops and dark tribal house music provided popular despite the deluge of funk-deficient minimal cuts dominating the techno scene during the late Nineties. In magazine interviews Ben often describes his production of music simply as the natural continuation to many years spent behind the decks. Forging tracks in an energetic metallic mould with a rich, hypnotic consistency, much akin to his DJ'ing style, he admits that his penchant for producing is secondary to his love of playing out. Hence, he views his studio output very much as dance floor music constructed for manipulation by the DJ. ▪ www.outlar.com

A techno producer who thrives most when using stripped-down tracks shaded with darker hues, Berlin's BBENEN K KLOCKLOCK debuted in 1998 as Ben E. Clock with a 12" on his own short-lived Clockworks label. His modest beginning continued with a 2000 12" on WMF, but in 2003 he released a pair of singles -- "Glow" and "Tag der Arbeit" -- on Ellen Allen’s BPitch Control. That allegiance significantly increased his exposure. After a pair of releases on BPitch sublabel Memo, Klock and Marcel Dettermann collaborated on the 2006 maiden re-lease for Ostgut, the label branch of Berlin's Berghain nightclub. Successive Ostgut singles, especially February 2007's "Czeslawa"/"Warszawa," ramped up the anticipation for the first Klock full-length. “One,” the third production album released on Ostgut (following almost uni-versally praised releases from Shed and Prosumer + Murat Tepeli), was issued in March 2009. ▪ Andy Kellman, All Music Guide

BBUZZUZZ "Banging" GGOREEOREE, is an aggressive predator unit. One of UR's new models of As-sault DJ's, following in a tradition deep in the (Jeff) Mills based DJ school of UR, located on the North end of Detroit. Used specifically for UR assaults. In the competitive world of Detroit DJing, Buzz has consistently kicked the asses and intimidated many a so-called World DJ. The Detroit guys know about his tenacity and UR control feels that the "Goree" unit is now ready for global assault duty. This unit is by design, tough, aggressive and banging as were his preceding models. There will be no need for 5 star hotels and first class seating on the Air Pimp. Just simply place the unit in front of the UR Swarm and prepare for the Sonic Mayhem!Oh yeah, by the way, have his money ready and beer readily available!! Buzz, also known by his production name "Clandestine" has produced many of the infamous standard unobtain-able UR Assault DJ Ammo tracks: "Z" records. These specifically created records are for UR Assault DJ use only. The unit comes armed with these and other records which he has created as an tactical advantage over rivals. ▪

RROBERTOBERT H HOODOOD makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. Having recorded for Metroplex, as well as the Austrian Cheap label and Jeff Mills’ Axis label, Hood also owns and operates the M-Plant imprint, through which he's re-leased the bulk of his solo material. Hood was a founding member, along with Jeff Mills and Mike Banks, of Underground Resistance record label, whose influential releases throughout the early and mid '90s helped change the face of modern Detroit techno and sparked a creative renais-sance. Infusing elements of acid and industrial into a potent blend of Chicago house and Detroit techno, UR's aesthetic project and militant business philosophy were (and remain) singular com-mitments in underground techno. Hood left Detroit (and UR) with Jeff Mills in 1992, setting up shop in New York and recording a series of 12-inch EPs. Through the mid '90s, Hood has focused on his solo work, setting up M-Plant in 1994 and releasing singles such as "Internal Empire," "Music Data," and "Moveable Parts." Point Blank' took Hood's hypnotic minimalism to entirely new depths and territories, whilst his latest album ‘'Wire To Wire' takes his productions onto new levels of musicality and sophistication within the world of electronic music. ▪ www.outlar.com

DJ/Promoter BBRUCERUCE B BAILEYAILEY, honed his skills in the electronic music capital of the world - De-troit Michigan. The Cass Tech Grad has built his name over the years into a signature disk jockey that has become synonymous with many of Detroit's most successful events having residencies over the years at numerous ”Nightspots;” Bruce is best know for his historic Thursday Night Groove - The Music Bar @ Club 246 (1992-1998) and his promotional skills were showcased in the infamous Wednesday sets @ Cheeks Night Club (1983-1986) and most recently L8Nites at Lola’s (2004-2009) in Harmony Park. Bailey's promotional skills and affiliation with numerous club owners and promotion companies, have made him notorious as be-ing, “The hardest working DJ in the D.” Along side with partner and local DJ Vernon English, Bai-ley is the Co-Founder of “The Tandem Entertainment Group” (A Detroit DJ/Promotion Com-pany). Currently Bailey’s residents include: Flood’s Bar & Grille-Every Thursday, TV (Half Past Three)- Every Friday; all in Detroit, MI and Bar 7 in Southfield, MI-Every Saturday. Bruce is also publishes a weekly newsletter and new monthly magazine both entitled, "The B List" reaching over 5,000 local nightlife enthusiasts. ▪ CDN.Comm.2010

Detroit’s RRYANYAN E ELLIOTTLLIOTT has gained international notoriety by programming sets that are as well crafted and sophisticated as they are danceable. From ice cold minimal techno to sum-mery house beats, Elliott has played everything from Fabric to the Guggenheim with equal success. As a DJ, Ryan is adept in the late night hours, finding the balance between heavy floor tracks and elegant crowd pleasers. Utilizing three decks, multiple audio sources, and outboard effects are par for the course, and Elliott employs them with the utmost skill to keep crowds engaged- the only people not dancing are watching him work. With a fervent interest in the emerging international techno scene, he is a walking encyclopedia of artists, labels, and releases. In 2005 he began a residency at Detroit’s Oslo, and created a stellar 33-track mix for the 2xCD edition of the Spectral Sound Vol.1 compilation. The ensuing years have found Elliott globetrotting at a rapid rate and trying his hand at remixing including a stealth bomber for Kate Simko’s She Said. Never to be counted out, Elliott continues to surprise and inspire with a bulltet proof passion for his craft as his guide.▪ GhostleyInternational.com

Sean Gifford a.k.a. SSPOREPRINTPOREPRINT began his fascination with electronic music at a very young age. Raised on the Detroit based program “The New Dance Show” and Jeff Mills’ WJLB mixes, he be-came obsessed with the strange electronic music he’d discovered. At age 17, he became a fixture on the Detroit underground rave scene. His passion for the music and natural talents catalyzed him to become more than just a bystander. A self-taught DJ and producer, Sean has dedicated the last 8 years of his life to learning and mastering the craft. The past few years have seen a rise in the visibility of one of Detroit’s best kept secrets. As a member of “Mixworks,” Sporeprint has had the benefit of working directly under the founder, Techno heavyweight Buzz Goree. His recent gigs have him playing alongside legends such as Juan Atkins, Jeff Mills, Derrick May, and Rob Hood – all of whom he cites as main influences in addition to Luke Slater and Joey Beltram. The future looks to be very promising as Sporeprint is currently preparing to increase his exposure even more, add live performances, and getting his first release ready. He anticipates more ap-pearances in the U.S. and internationally and prepares for the next level. ▪ facebook.com

MMIKEIKE C CLARKLARK has been dubbed Detroit’s “Ambassador” among the city’s underground music commu-nity and those that know him well. This is exactly what makes the Agent the essential DJ. His level of understanding and appreciation in the industry places him at an immediate advantage – one could say that Clark is the anthropologist of the dance floor. As the 1980’s dawned it was the competitive nature around this time that pushed Mike. Merging this fast growing Chicago style with the Euro-disco and progressive sound popular in Detroit, by the late 80’s Clark became a major figure in the birth of ‘Detroit techno’ alongside other DJ’s such as Derrick May, Juan Atkins, Kevin Saunders, Blake Baxter and Eddie Fowlkes. During this exiting era of innovative discovery, Mike began producing and remixing. He teamed up with Mad Mike Banks group ‘Members Of The House’ to form the alias Underground Resis-tance label which became “Members Of House” singing group, which very clearly stood shoulder to shoulder with Ten City as one of the first two “House” music groups in history. Clark suddenly elevated his presence in Detroit, once again becoming one of the city’s most prolific DJs and producer now known as ‘Agent X’ beginning his DJ journey around the globe. A few years later in the late 90s mike joined forces with Carl Craig’s Planet E label. The result of this would be the smash hit EP “In the morn-ing” which would yet again catapult his Career across the Atlantic into Europe and as far as Japan. ▪ Last FM.com

Detroit’s RRYANYAN E ELLIOTTLLIOTT has gained international notoriety by programming sets that are as well crafted and sophisticated as they are danceable. From ice cold minimal techno to sum-mery house beats, Elliott has played everything from Fabric to the Guggenheim with equal success. As a DJ, Ryan is adept in the late night hours, finding the balance between heavy floor tracks and elegant crowd pleasers. Utilizing three decks, multiple audio sources, and outboard effects are par for the course, and Elliott employs them with the utmost skill to keep crowds engaged- the only people not dancing are watching him work. With a fervent interest in the emerging international techno scene, he is a walking encyclopedia of artists, labels, and releases. In 2005 he began a residency at Detroit’s Oslo, and created a stellar 33-track mix for the 2xCD edition of the Spectral Sound Vol.1 compilation. The ensuing years have found Elliott globetrotting at a rapid rate and trying his hand at remixing including a stealth bomber for Kate Simko’s She Said. Never to be counted out, Elliott continues to surprise and inspire with a bulltet proof passion for his craft as his guide.▪ GhostleyInternational.com

Sean Gifford a.k.a. SSPOREPRINTPOREPRINT began his fascination with electronic music at a very young age. Raised on the Detroit based program “The New Dance Show” and Jeff Mills’ WJLB mixes, he be-came obsessed with the strange electronic music he’d discovered. At age 17, he became a fixture on the Detroit underground rave scene. His passion for the music and natural talents catalyzed him to become more than just a bystander. A self-taught DJ and producer, Sean has dedicated the last 8 years of his life to learning and mastering the craft. The past few years have seen a rise in the visi-bility of one of Detroit’s best kept secrets. As a member of “Mixworks,” Sporeprint has had the benefit of working directly under the founder, Techno heavyweight Buzz Goree. His recent gigs have him playing alongside legends such as Juan Atkins, Jeff Mills, Derrick May, and Rob Hood – all of whom he cites as main influences in addition to Luke Slater and Joey Beltram. The future looks to be very promising as Sporeprint is currently preparing to increase his exposure even more, add live performances, and getting his first release ready. He anticipates more appearances in the U.S. and internationally and prepares for the next level. ▪ facebook.com

JJANAN L LIEFHEBBERIEFHEBBER is most well known for founding the now infamous Highland Beats Records in 1995. Highland Beats has become one of the most respected techno labels around featuring prestigious artists like WJ Henze, Cristian Varela, Glenn Wilson, Lars Klein to name but a few. He is also the brain behind the successful labels Klirfactor, Body Art Form and Highland Beats Limited. Initially making a name for his DJ sets at underground parties in Holland and for the parties he organized under the name Equivalence. The word soon spread and he broke through internationally, performing more often in the rest of the world than in his native Holland. He has become a household name in Germany where he played at Nature One in 2003 as well as performing regularly in France, England, Poland, Austria, Belgium, Italy, Mexico, Japan and the USA. Jan has been proved to be one of Holland’s best exported DJ`s! ▪ Djguide.com

DJ/Promoter BBRUCERUCE B BAILEYAILEY honed his skills in the electronic music capital of the world - Detroit Michigan. The Cass Tech Grad has built his name over the years into a signature disk jockey that has become synonymous with many of Detroit's most successful events having residencies over the years at numerous ”Nightspots;” Bruce is best know for his historic Thursday Night Groove - The Music Bar @ Club 246 (1992-1998) and his promotional skills were showcased in the infamous Wednesday sets @ Cheeks Night Club (1983-1986) and most recently L8Nites at Lola’s (2004-2009) in Harmony Park. Bailey's promotional skills and affiliation with numerous club owners and promotion companies, have made him notorious as being, “The hardest working DJ in the D.” Along side with partner and local DJ Vernon English, Bailey is the Co-Founder of “The Tandem En-tertainment Group” (A Detroit DJ/Promotion Company). Currently Bailey’s residents include: Flood’s Bar & Grille-Every Thursday, TV (Half Past Three)- Every Friday; all in Detroit, MI and Bar 7 in Southfield, MI-Every Saturday. Bruce is also publishes a weekly newsletter and new monthly magazine both entitled, "The B List" reaching over 5,000 local nightlife enthusiasts. ▪ CDN.Comm.2010

MMIKEIKE C CLARKLARK has been dubbed Detroit’s “Ambassador” among the city’s underground music com-munity and those that know him well. This is exactly what makes the Agent the essential DJ. His level of understanding and appreciation in the industry places him at an immediate advantage – one could say that Clark is the anthropologist of the dance floor. As the 1980’s dawned it was the competitive na-ture around this time that pushed Mike. Merging this fast growing Chicago style with the Euro-disco and progressive sound popular in Detroit, by the late 80’s Clark became a major figure in the birth of ‘Detroit techno’ alongside other DJ’s such as Derrick May, Juan Atkins, Kevin Saunders, Blake Baxter and Eddie Fowlkes. During this exiting era of innovative discovery, Mike began producing and remixing. He teamed up with Mad Mike Banks group ‘Members Of The House’ to form the alias Underground Resis-tance label which became “Members Of House” singing group, which very clearly stood shoulder to shoulder with Ten City as one of the first two “House” music groups in history. Clark suddenly elevated his presence in Detroit, once again becoming one of the city’s most prolific DJs and producer now known as ‘Agent X’ beginning his DJ journey around the globe. A few years later in the late 90s mike joined forces with Carl Craig’s Planet E label. The result of this would be the smash hit EP “In the morn-ing” which would yet again catapult his Career across the Atlantic into Europe and as far as Japan. ▪ Last FM.com

Since the early days of Hip- Hop, Kris Harris now known as DDETROITETROIT’’SS O OWNWN DJ DJ SSURGEONURGEON has been blazing the turntables and working in the studio. After appearing at 5 DEMF Movement Festivals, Kris Harris –AKA- “Detroit’s Own DJ SURGEON,” made the Motor City his home. He became an international Dee Jay after appearing in Spain with a performance with Scan 7 & at world famous Mo-Negros Dessert Festival, With several international dates approaching, Surgeon, carries a unique sound that represents the art form of turntabilism into electronic music. Now with his recordings selling in over 20 countries, “Detroit’s Own DJ Surgeon,” is marching into the future by amazing crowds leaving them with his “WOW effect...” ▪ Facebook.com

“Keeping it in the family,” is an understatement because AAARONARON A ATKINSTKINS has been instrumental figure in the Techno scene since the early age of 8. As the nephew of “The Godfather,” music runs deep within his bloodline serving as the resident DJ for Metroplex records. Under the tute-lage of Uncle Juan; Aaron, was introduced to the wheels of steel, by compiling his first mix of Clear by Cybotron, and Mike Banks’ Illuminator. In addition to performing at “EVERY” Detroit Elec-tronic Music Festival [DEMF] since its conception in 2000, the Cork Town Music Festival as well as, various night clubs all in Detroit; at 21 Atkins is well on his way to keeping the family name ongoing for decades to come. Atkins’ states “ I want to keep my uncles legacy and record label-Metroplex on the charts with new and innovative music, while following in his footsteps by pre-senting my music to the world.” This protégé is definitely in the process of doing just that with dili-gence and persistence toward attaining his goals in and outside of the studio. We should look forward to his EP release featuring DJ Sting Ray 313- part of Carl Craig’s – “Urban Tribe” [also scheduled to perform during Metroplex 25] coming soon in summer 2010! Additional artists forth-coming under the new generation of Metroplex records include: Headnoaks Aliensextoy and Co-mos featured under group name the “XRAYS” so stay tuned! ▪ CDN Com. 2010

MMollison, AKA, “TTHEHE B BODYODY M MECHANICECHANIC,” Folson has been DJ'ing over 25 years with an additional 15 years of techno and rap music to his senior. Born and raised on the Northwest Side of Detroit he developed his love for music at the early age of 13. He was introduced into the industry by his brother Norman who at the time lived in Chicago, IL in 1983 (during the revolution of House Music) in addition to childhood friend, DJ Dee, Beginning with per-forming at elementary and high school functions latterly evolved into local radio mix-shows, to a residency at the legendary night club “The Rich and Famous,” (located directly across the street from/and prior to The Music Institute). Entering into 2002, Body Mechanic signed with (Electrofunk Records). There he released the single “Peaceofmine/The Danze,” which is now a club banger. Since then he has graced the stage at Detroit's Electronic Music Festi-vals: Fuse-In in 2005 and again at Movement in 2008. Body Mechanic’s most rececent re-leases include music from producers Ray 7 (Underground Resistance), Los Hermanos and Tek Bros both from (Mr. Fuss of Red Planet Live), B. Calloway (Electrofunk), plus music from new comers DJ Spade (Tha Specialist), and DJ Lego. ▪ CDN Com. 2010

JJOHNOHN J JOHROHR’’SS career as a DJ began in 1999 after drawing inspiration from the sounds of early Detroit Techno and House. His sets today strike an artistic balance that blends a fusion of house, tech house, minimal, and Detroit techno; a quality that was directly shaped by his occupation as record purchaser for Detroit’s famed Record Time. John’s status in the electronic music scene began to rise when he produced Input/Output; one of Detroit’s longest running weekly electronic music events. As host of the popular weekly series, John showcased veteran and emerging inter-national talents such as Blake Baxter, Mike Huckaby, Dan Bell, John Tejada, Seth Troxler, and Ryan Crosson. In 2005 John took up residency with Paxahau and became one of a select group of DJs to represent the promotional powerhouse behind the decks. His residency with Paxahau further propelled his career and gave him the opportunity to share his talents at shows in Chicago, Cleveland, San Francisco, Miami, Austin, Los Angeles, and Toronto. He also has played the Movement Electronic Music Festival twice in the last five years. His burgeoning talents in the stu-dio will also be on showcase as he is slated for his first release on Left’d—the UK based digital sub label of Leftroom. John continues to stand out among Detroit DJs using creative skills & years of experience as resources to provide an unequalled mixing display. ▪ SpinDetroit.com

Craig De Sean Adams -AKA- DJ ADJ ASSAULTSSAULT was born and raised in Detroit, Craig came to dance music like many of his Motown brethren, via the radio. Detroit radio jocks made lasting impressions on the young artist. Mixing records since 1982, Craig has been indoctrinating people with his own take on Detroit dance music, which is very much an amalgam of his radio predeces-sors. The introduction of scratching and rapping to non-Hip Hop genres of music, this style is something that could only have come from Detroit. "The STREET NARRATOR" is hard at work with his label and a place to finally call home "JEFFERSON AVE". Craig Diamonds is also the man behind a whole new set of beats -- the man responsible for some of the most infectious hooks this side of the Mississippi. Producing records since 1995 Assault has been making some of the most talked about booty-bass tracks in existence. Songs like "Bounce" which appeared in the 2003 Oscar nominated film 13. "Ass 'n Tit…..” which was used in a April 2004 episode of the Dave Chappelle Show on Comedy Central, "Shake It, Work It" aired in a HP ipod commercial during the August 2004 VMA's (Video Music Awards)on MTV and has continued to play on na-tional television every since. Other credits included music production for various MTV shows such as Road Rules and The Gauntlet. ▪ Last FM.com

Born in Zaragoza, Spain, Chicago’s DDAVEAVE P POWERSOWERS is a veteran musician, producer, and DJ who has been performing music for over twenty years. Ever since he programmed his first drum machine at the age of 12, Powers has been obsessed by the musical posibilities of electronic music. His productions and DJ sets are rooted in the classic sounds of Chicago house and De-troit techno, yet he uses these sounds to express a unique vision, creating music that is deep, funky, and futuristic. His sound has been inspired by musicians as wide ranging as John Col-trane, Charles Mingus, Thelonius Monk, Mozart, Mahler, John Cage, Prince, Marvin Gaye and Juan Atkins. In 1999 and 2000, while living in Kalamazoo, Michigan, Powers began playing De-troit and Kalamazoo warehouse parties under the pseudonym Cyborg K. These underground events turned his love of techno music into an insatiable passion. During this time, he played all-hardware live PA's alongside techno legends such as Jay Denham, Dan Bell, and Oliver Ho. He also began honing his studio skills and mastering analog synthesizers. Powers regularly per-forms at clubs and parties around the US. He has released music on Hej and Klectik, and has a forthcoming 12" release on NocturnalNoize. futurefunk.davidapowers.com synthesizers.▪ www.davidpowers.com

JJENNYENNY L LAFEMMEAFEMME''SS soulful house, old-school, international pop and "grown and sexy" club mixes -- sometimes all in one set -- and the chic international and mixed crowds she attracts have turned Lafemme into the jet set's underground It Girl. From Chicago to Detroit, from Miami to Moscow, LaFemme is the buzz. What started out as a hobby for her Russian community in suburban Detroit and her club-kid friends in the city's 1990's underground house music scene has emerged as a full-fledged career as a DJ, and one whose parties no longer own any singular, homogenous niche, but several mixed together -- often all at the same event. Gay, straight, black, white, young, mature, American, European, Middle-Eastern -- when LaFemme headlines an event, you know you're going to get the right kind of mix, from the dancefloor to the turntables. “It's my job to navigate the party, to give people a chance to live a little fantasy for a few hours. More than a deejay, I like to think I'm more of a creative director for parties." ▪ www.jennylafemme.com

For nearly a decade and a half, JJOSHOSH H HELTONELTON -AKA- Adejai from Fort Wayne, Indiana has traveled North America picking up, and delivering a unique blend of sounds by artists from around the globe. His selections have a distinct urban feel, and tend to be flavored with a jazz appeal. From a laid-back lounge to a pumpin' dance floor, Adejai can provide a sonic landscape that fits the moment. ▪ - www.adejai.com

AANDREWNDREW K KEVINSEVINS purchased his own set of turntables as a freshman in high school back in 1996 and began practicing the art of mixing records immediately after. His experiences in music soon began to change. Attending the Drop Bass Network Parties in Wisconsin along with a num-ber of parties throughout Chicago, Detroit, and across the states, he became equally influenced by Kurt Eckes' legendary Drop Bass parties and family techno campouts, as well as Richie Haw-tin's heady parties of the second half of the nineties. The various sounds of house, techno, elec-tro, hip-hop, and IDM became a sort of obsession for Andrew and friends, following the move-ments at various events across the country, from Chicago to Detroit, NY to LA. Over the years, he has also helped organize various electronic events with Meiotic Chicago and other friends (primarily in the Midwest). Some of the names Andrew and friends brought out include Four Tet, Matthew Herbert, Metro Area, Telefon Tel Aviv, Moodymann, and many more. He has opened for artists such as Ellen Allien, Modeselektor, Michael Mayer, Matthew Dear, Jeff Samuel, Solvent, and Skoozbot, among others. ▪ www.andrewkevins.com

Founder of Droid Recordings and co-founder of Droid Behavior, DDRUMCELLRUMCELL has been one of techno's greatest allies in Southern California in recent times. After being exposed to raves in the early 90s, He grew addicted to the sounds of acid house, techno, in its many forms, and industrial. Over the last 5 years Drumcell has rocked parties from big to small on a weekly basis in LA as well as gigs all over the U.S alongside such names as Kenny Larkin, john Tejada, Tim Xavier, Dan Bell, Ben Sims, Adam Beyer, Jeff Mills, Speedy J, Ritchie Hawtin, Mathew Dear, etc. and has also released quite a few heavy trax on labels omniscient, remains, heavy Industries, and his own DROID recordings imprint.By combining his Production, DJing and networking skills and focusing in on his more mature musical tastes he soon established himself as one of the major players in LA's growing techno scene. With the state of electronic music in North America leaning towards stripped down funk rather then progressive fluff these days, Droid has become the center for LA techno and Drumcell remains steadfast in his mission of putting this city on the global map. ▪

PPHILHIL A AGOSTAGOSTA is intent on pursuing a "new generation of sound" for Detroit. Detroit is so well known for it's unique brand of electronic music and the creation of techno, that the music can be qualified by the name of the city itself. Phil Agosta, looks forward to updating that iconic sound. Phil Agosta grew to love and nurture his passion of life. Determined to make a name for himself, and to develop his own take on the Detroit sound, Phil honed his skills on turntables at some of the Motor City's hottest nightclubs of that moment, most notably Taboo, Cheeks, Motor Lounge, Bleu & Club Hollywood amongst the many popular Nightclubs that would come and go in Detroit. Yet like so much Detroit DJ talent, the artist would eventually migrate to Chicago's thriving and storied late-80s and 90s house music scene, moving the crowd at legendary hotspots Excalibur, China Club and Industry. Motor City-based tech-house maestro DJ Phil Agosta is about to put the traffic on the dance floor again. Agosta’s latest track, “Sound of Music” and its “Beat On the Drum” remix drop May 2010 via Black Flag, a Detroit-based label owned by Motor-City techno pioneer

Despite his long list of accomplishments, Detroit born NNOËLOËL is not one to stick out in a crowd. Though he sports a baby face so sincere he's likely to be carded at his own gigs, Noël's years of experience shine through on and off the decks. From his boutique mastering studio, co-management of the super-label Palms Out Sounds, features in MIX and Elec-tronic Musician, and numerous production credits ranging from jazz to house records, it's clear this boy is out to enrich the world of music. It all started at the tender age of 16 when Art "Pumpin'" Payne, the Godfather of Detroit dance music, introduced Noël to two decks and a mixer. After traveling in the UK, NYC, and Japan, Noël developed an eclectic and di-verse musical palate; expressed with a unique blend of house, bass, tribal, and techno. Noël is set to release his debut EP in Fall 2010 on Palms Out Sounds, as well, he mastered and developed artwork for Phil Agosta's "Tribute to Detroit EP" coming out in June.▪

DDuring the first wave of Detroit “techno” scene of the 80s, huge parties were held with upwards to fifty or more com-uring the first wave of Detroit “techno” scene of the 80s, huge parties were held with upwards to fifty or more com-peting DJs. Most of the early partypeting DJs. Most of the early party--goers were made up of middlegoers were made up of middle--class black youths. However, as Detroit experi-class black youths. However, as Detroit experi-enced heavy economic downfall, many of the middleenced heavy economic downfall, many of the middle--class white families fled to the suburbs in what is called the class white families fled to the suburbs in what is called the "white flight" of the early 70s while middle"white flight" of the early 70s while middle--class black families were displaced by the degentrification of once se-class black families were displaced by the degentrification of once se-curely middlecurely middle--class black districts. class black districts. DDetroit Techno as a genre created a newetroit Techno as a genre created a new--found, integrated club scene in Detroit that had not been felt in a general found, integrated club scene in Detroit that had not been felt in a general sense after the Motown label moved to Los Angeles. Television programs like Channel 62 sense after the Motown label moved to Los Angeles. Television programs like Channel 62 -- WGPR's "The Scene" WGPR's "The Scene" -- featured a racially and ethnically very mixed selection of dancers every weekday after school, but the playlist was featured a racially and ethnically very mixed selection of dancers every weekday after school, but the playlist was typically jammed with the R&B and Funk tracks of the day, like Prince or the Gap Band. Breakouts like Juan Atkins's typically jammed with the R&B and Funk tracks of the day, like Prince or the Gap Band. Breakouts like Juan Atkins's TechnicolorTechnicolor, under his Model 500 moniker, eventually found their way onto The Scene, and helped to validate the , under his Model 500 moniker, eventually found their way onto The Scene, and helped to validate the burgeoning local Techno underground with the urban high school set, college radio programmers and DJs from burgeoning local Techno underground with the urban high school set, college radio programmers and DJs from Chicago to London and beyond. In addition, the advent of a huge circuit of local parties in Detroit spawned competi-Chicago to London and beyond. In addition, the advent of a huge circuit of local parties in Detroit spawned competi-tion between a number of DJs, with a week's preparation for a party being common.tion between a number of DJs, with a week's preparation for a party being common. UUnder the name Deep Space Soundworks, Atkins, May and friends Eddie Fowlkes, Art Payne and Keith Martin nder the name Deep Space Soundworks, Atkins, May and friends Eddie Fowlkes, Art Payne and Keith Martin began to DJ on Detroit’s party circuit. By 1981, Mojo was playing the record mixes recorded by the Belleville Three, began to DJ on Detroit’s party circuit. By 1981, Mojo was playing the record mixes recorded by the Belleville Three, who were also branching out to work with other musicians. The trio traveled to Chicago to investigate the house mu-who were also branching out to work with other musicians. The trio traveled to Chicago to investigate the house mu-sic scene there, particularly the legendary Chicago DJs Ron Hardy and Frankie Knuckels. House was a natural pro-sic scene there, particularly the legendary Chicago DJs Ron Hardy and Frankie Knuckels. House was a natural pro-gression from disco music, so that the trio began to formulate the synthesis of this dance music with the mechanical gression from disco music, so that the trio began to formulate the synthesis of this dance music with the mechanical sounds of groups like Kraftwerk, in a way that reflected postsounds of groups like Kraftwerk, in a way that reflected post--industrialist Detroit. An obsession with the future and its industrialist Detroit. An obsession with the future and its machines is reflected in much of their music, because, according to Atkins, Detroit is the most advanced in the tran-machines is reflected in much of their music, because, according to Atkins, Detroit is the most advanced in the tran-sition away from industrialism.sition away from industrialism.

TThe location of Belleville was key to the formation of the “Belleville Three,” as musicians. Because the town was still he location of Belleville was key to the formation of the “Belleville Three,” as musicians. Because the town was still “pretty racial at the time,” according to Saunderson, “We three kind of gelled right away.” The rural setting also af-“pretty racial at the time,” according to Saunderson, “We three kind of gelled right away.” The rural setting also af-forded a different setting in which to experience the music. “We perceived the music differently than you would if you forded a different setting in which to experience the music. “We perceived the music differently than you would if you encountered it in dance clubs. We'd sit back with the lights off and listen to records by “Boosty (Collins)” and the encountered it in dance clubs. We'd sit back with the lights off and listen to records by “Boosty (Collins)” and the “Yellow Magic Orchestra.” We never took it as just entertainment, we took it as a serious philosophy,” recalls May. “Yellow Magic Orchestra.” We never took it as just entertainment, we took it as a serious philosophy,” recalls May. The segratory stigma attaching to Eight Mile Road was comparable to that of Watts in Los Angeles, The Bronx in The segratory stigma attaching to Eight Mile Road was comparable to that of Watts in Los Angeles, The Bronx in New York or South Chicago.”New York or South Chicago.” AAlthough some the Belleville Three lived outside the city limits, their influence at parties, after hours and high lthough some the Belleville Three lived outside the city limits, their influence at parties, after hours and high school clubs and late night radio united listeners of progressive dance music from above and below Eight Mile school clubs and late night radio united listeners of progressive dance music from above and below Eight Mile Road. Even TechnoRoad. Even Techno--friendly regular hours clubs like The Shelter, The Music Institute and The Majestic were incuba-friendly regular hours clubs like The Shelter, The Music Institute and The Majestic were incuba-tors Techno's progress from basements and late night radio onto the dance floors of the world.tors Techno's progress from basements and late night radio onto the dance floors of the world.

TThe club scene was as much in transition as the city they were in. The widespread popularity of progressive music he club scene was as much in transition as the city they were in. The widespread popularity of progressive music across socioacross socio--economic lines led to a mixing between West Side and elite high school youths with ghetto and gang-economic lines led to a mixing between West Side and elite high school youths with ghetto and gang-ster "jits" (abbreviation for "jitterbug"). Unfortunately, the economic problems of Detroit and the prevalent social apa-ster "jits" (abbreviation for "jitterbug"). Unfortunately, the economic problems of Detroit and the prevalent social apa-thy and desolation led to a proliferation within clubs and by 1986.thy and desolation led to a proliferation within clubs and by 1986. IIn 1988, due to the immense popularity of American electronic music in Great Britain, dance music entrepreneur n 1988, due to the immense popularity of American electronic music in Great Britain, dance music entrepreneur Neil Rushton approached the Belleville Three to license their work for release in the UK. To define the Detroit sound Neil Rushton approached the Belleville Three to license their work for release in the UK. To define the Detroit sound as being distinct from Chicago house, Rushton and the Belleville Three chose the word "techno" for their tracks, a as being distinct from Chicago house, Rushton and the Belleville Three chose the word "techno" for their tracks, a term that Atkins had been using since his Cybotron days ("Techno City" was an early single.)term that Atkins had been using since his Cybotron days ("Techno City" was an early single.) TToday Juan Atkins, Kevin Saunderson, and Derrick May remain active in the global music scene today. In 2000, the oday Juan Atkins, Kevin Saunderson, and Derrick May remain active in the global music scene today. In 2000, the first annual Detroit Electronic Music Festival [DEMF] was held, and in 2004 May assumed control of the festival, first annual Detroit Electronic Music Festival [DEMF] was held, and in 2004 May assumed control of the festival, renamed Movement. He invested his own funds into the festival, and "got severely wounded financially."renamed Movement. He invested his own funds into the festival, and "got severely wounded financially."[[Kevin Kevin Saunderson helmed the festival, renamed FUSE IN, the following year. Saunderson, May, and Craig all performed Saunderson helmed the festival, renamed FUSE IN, the following year. Saunderson, May, and Craig all performed but did not produce the festival in 2006but did not produce the festival in 2006[[, when it was again called Movement. Saunderson returned to perform at the , when it was again called Movement. Saunderson returned to perform at the 2007 Movement as well. The Belleville Three continue to tour internationally. All three maintain popular MySpace 2007 Movement as well. The Belleville Three continue to tour internationally. All three maintain popular MySpace pages promoting their music and performances. Derrick May says that his mission continues to be "to save the pages promoting their music and performances. Derrick May says that his mission continues to be "to save the world from bad musicworld from bad music." ." ■ ■ Excerpts from From Wikipedia, the free encyclopedia, online.