Anthony “Shake” Shakir told Detroit’s Metro Times in 2002 he sometimes felt “like the invisible man of techno.” This rueful admission may well be partly true. While Shake’s first track was included on the compilation that coined the genre name (Techno: The New Dance Sound Of Detroit), he’s never had the high profile other Detroit first wavers have enjoyed. This outsider status is in some ways self imposed. Shake’s music has always been too idiosyncratic, too eclectic, too damn futuristic to fit in with any hype, trend or zeitgeist. Compare this to the single-minded approach of peers such as schoolmate Mike Huckaby or fellow drumming student Robert Hood, and it’s apparent that maybe a lack of a signature sound resulted in this long-term under appreciation. A typical Shake release, if there is such a thing, traverses genres, tempos and moods without even blinking. So it is with “Levitate Venice,” his first record for some four years.