Dormant since 2008, Third Ear Recordings’ Detroit Beatdown various artist series returns for one last hurrah on Detroit Beatdown Vol. 2 The Final EP, featuring Mike Clark, Rick Wade, DJ T-1000, and Scott Ferguson.
LWE tracked down Hand to find out more about her career, her formative influences and what’s going on with Acacia Records. She also mixed our 161st exclusive podcast, which shows off her particular tastes and incredible skills on the decks.
LWE has assembled a tightly curated guide to this year’s afterparties rather than something comprehensive. While we’ve still showcased a handful of parties — the ones you’ll likely catch us at — pretty much everything on here will be a good time for those who dig the line-ups.
Our 80th exclusive podcast is a blazing live set recorded at The Underground in Dublin, an hour of Detroit techno that will blow your hair back and have you checking for when Octave One will hit your town.
As an acclaimed musician and record label owner, as well as a friend, father and partner, Aaron-Carl wasn’t afraid to put himself into his art or speak his mind. Steve Mizek honors the Detroit great who passed away in September of 2010.
Sherard Ingram’s music and life have simply seen too much growth and change to permit easy characterization. Sure, a through-line connects the span of his work, but not one that parallels any single current of electronic music history. Tipping our hats to The Wire, Little White Earbuds eagerly turn to Ingram with some follow-up questions of our own.
In a career that spans some twenty years Robert Hood has indelibly left his mark on the techno landscape, and to this day he continues to explore his particular brand of stripped back, haunting techno funk. LWE spoke to Mr. Hood about his new album, Omega, injecting faith into music and hearing the echoes of Motown through techno.
As May rolls around each year, many dance music fans in America and around the world instinctively reach for their wallets and begin making preparations for Detroit’s annual electronic music festival, Movement.
Even if we could ignore all his considerable undertakings and accomplishments, Mike Huckaby would still be an LWE favorite for his refreshingly level-headed and thoughtful perspectives on the electronic music industry. We tried to coax a few of those out of him in the Q&A that follows, and we’re honored and thrilled to present, as LWE’s 50th podcast, an exclusive 78-minute mix from one of the crucial artists of our time.
With so much to choose from, LWE has decided to reprise last year’s popular festival guide. Because the daily schedule has not yet been released we’re breaking things down by stage, so at least you’ll know where to be to see these incredible artists at work.
LWE spoke to Stacey Pullen about that album which lead to a bleak period of disillusionment, the early years at Transmat and feeling reinvigorated again with a basket-full of new music to unleash on the world. He was also kind enough to put together an exclusive mix for LWE of tracks he has been feeling lately.
There have been plenty of Detroit techno compilations over the years; True People would probably rate as my favorite for its sheer comprehensiveness and myriad pieces of vinyl, though its spot at number one has often been contested in my mind by this compilation on Astralwerks which came out the same year in 1996. Packed with ten tracks of exclusive material from the creme of Detroit’s third wave of techno producers, it showcases their many different sides, from deep and hypnotic through to raw, jacking soul and clinical, electro funk. Though many of the producers on the album were familiar to me already, there were others like Ectomorph, Will Web, and Mode Selector I was discovering for the first time. Throughout it all can be heard strains from their mentors mixed in with the new directions in which these younger guns were taking the music.
For many electronic music fans in America’s Midwest, the most anticipated event of each year is Movement: Detroit’s Electronic Music Festival, and for good reason. In spite of the reverence DJs and producer express for the region as the birthplace of house and techno, the Midwest is often passed over by DJs and producers whose U.S. tours reach no farther than New York and Los Angeles or San Francisco. While the reasons for this are too complex to tackle here, suffice it to say many Midwesterners — and those who travel from far and wide — relish the one time DJs and musicians annually descend upon Detroit en masse. It’s also a chance for Detroit’s homegrown talent to strut their stuff for larger audiences who seldom make it to the Motor City.
Once a year since 2000, electronic music fans flock to America’s techno mecca, Detroit, to celebrate in the only way they know how — four days of dancing. Paxahau’s Movement 09 festival provides us with numerous reasons to move it in Detroit Plaza this year from May 23rd to the 25th. Have a look at all the festival has to offer and win one of two weekend passes by answering our trivia contest.
Listening to “Lonely One,” the latest single from Motor City Drum Ensemble, I found myself focusing on the artist’s name more than his music. In all likelihood the Stuttgart-based producer (nee Danilo Plessow) picked the moniker as homage to Detroit’s many pioneering artists or as an unacknowledged nod to his hometown’s manufacturing claim to fame, but I can’t help feeling suspicious of his choice. A bit more than a year after minimal’s popularity bubble went bust, many producers and fans have found comfort in the “realness” seemingly innate in Chicago house and Detroit techno. Plessow’s music is likewise influenced by Detroit sounds; but as the press material for “Lonely One” admits, his is an outsider’s take that aims for more than emulation. Why then opt for an alias so tied to that ethos?