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73-619: Secret Life , The Secret Life or The Secret Life of... may refer to: Music [ edit ] Secret Life (band) , an English R&B/house and pop band from the 1990s The Secret Life Of... (album) , an album by the Veronicas Secret Life (album) , 2023 album by Fred Again and Brian Eno Secret Life (Material album) , 1986 "Secret Life" (Bleachers song) , 2021 "Secret Life" (Redd Kross song) , 1997 "Secret Life" (Jack Savoretti song) , 2021 "Secret Life",

146-533: A German "rave establishment," spearheaded by the party organisation Mayday , with its record label Low Spirit , WestBam , Marusha , and a music channel called VIVA . At this time the German popular music charts were riddled with Low Spirit "pop-Tekno" German folk music reinterpretations of tunes such as "Somewhere Over The Rainbow" and "Tears Don't Lie", many of which became hits. At the same time, in Frankfurt,

219-665: A Sunday morning session at Dorian Gray , a plush discothèque near the Frankfurt airport . They initially played a mix of different styles including Belgian new beat , Deep House , Chicago House, and synth-pop such as Kraftwerk and Yello and it was out of this blend of styles that the Frankfurt trance scene is believed to have emerged. In 1990, the Babalu Club , the first afterhours techno club in Germany, opened in Munich and

292-597: A TR909 drum machine. This was back when the Powerplant was open in Chicago, but before any of the Chicago DJs were making records. They were all into playing Italian imports; 'No UFOs' was the only U.S.-based independent record that they played. So Frankie Knuckles started using the 909 at his shows at the Powerplant. Boss had just brought out their little sampling footpedal, and somebody took one along there. Somebody

365-432: A commitment to the underground aesthetic of the music, or perhaps influenced by UR 's paramilitary posturing. In the same period, German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into hardcore . DJ Tanith commented at the time that "Berlin was always hardcore, hardcore hippie , hardcore punk, and now we have a very hardcore house sound." This emerging sound

438-458: A decade later as "soulful grooves" melding the beat-centric styles of Motown with the music technology of the time. May described the sound of techno as something that is "...like Detroit...a complete mistake. It's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company." Juan Atkins has stated that it is "music that sounds like technology, and not technology that sounds like music, meaning that most of

511-547: A form of "dance floor socialism," where the DJ was not placed in the middle and you "lose yourself in light and sound." As the techno sound evolved in the late 1980s and early 1990s, it also diverged to such an extent that a wide spectrum of stylistically distinct music was being referred to as techno. This ranged from relatively pop oriented acts such as Moby to the distinctly anti-commercial sentiments of Underground Resistance . Derrick May's experimentation on works such as Beyond

584-474: A lounge pianist and recording studio owner. In 2007, Grainger relocated to Austin, Texas , to continue lounge work. After spending some time in the late 1990s contributing vocals to the work of others, Bryant left the music industry , becoming a support worker for disabled adults in South Gloucestershire , England. Techno Much of the instrumentation in techno is used to emphasize

657-687: A new trend in clubs and discotheques. In 1988, the Ufo opened in West Berlin , an illegal venue for acid house parties, which existed until 1990. In Munich at this time, the Negerhalle (1983–1989) and the ETA-Halle established themselves as the first acid house clubs in temporarily used, dilapidated industrial halls, marking the beginning of the so-called "hall culture" in Germany. In July 1989 Dr. Motte and Danielle de Picciotto organized

730-584: A play by Harley Granville-Barker See also [ edit ] My Secret Life (disambiguation) Secret Lives (disambiguation) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Secret Life . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Secret_Life&oldid=1232244291 " Category : Disambiguation pages Hidden categories: Short description

803-550: A recording of clock tower bells. May explains: It all happened at the right time by mistake, and it didn't last because it wasn't supposed to last. Our careers took off right around the time we [the MI] had to close, and maybe it was the best thing. I think we were peaking – we were so full of energy and we didn't know who we were or [how to] realize our potential. We had no inhibitions, no standards, we just did it. That's why it came off so fresh and innovative, and that's why ... we got

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876-401: A seminal work that is generally considered the first techno production. Of this time, Atkins has said: When I started Metroplex around February or March of '85 and released "No UFO's," I thought I was just going to make my money back on it, but I wound up selling between 10,000 and 15,000 copies. I had no idea that my record would happen in Chicago. Derrick's parents had moved there, and he

949-513: A song by The Corrs from Forgiven, Not Forgotten "Secret Life", a song by Debbie Harry from Rockbird "Secret Life", a song by Soft Cell from Non-Stop Erotic Cabaret Other uses [ edit ] The Secret Life Of ... (TV series) , a television food/cookery show on the US Food Network The Secret Life: Jeffrey Dahmer , a 1993 film by David R. Bowen The Secret Life ,

1022-461: A superior example of the music he envisioned. Inspired, he resolved to continue experimenting, and he encouraged Saunderson and May to do likewise. Eventually, Atkins started producing his own music under the pseudonym Model 500 , and in 1985 he established the record label Metroplex . The same year saw an important turning point for the Detroit scene with the release of Model 500's " No UFO's ,"

1095-401: A supposed alternative was a music characterized by Simon Reynolds as "moribund, middlebrow Electro-Trance music, as represented by Frankfurt's own Sven Väth and his Harthouse label." Illegal raves, however, regained importance in the German techno scene as a countermovement to the commercial mass raves in the mid-1990s. In Germany, fans started to refer to the harder techno sound emerging in

1168-519: A techno supergroup called Intellex. But, when the group were on the verge of finalising their contract, May allegedly refused to agree to Top of the Pops appearances and negotiations collapsed. According to May, ZTT label boss Trevor Horn had envisaged that the trio would be marketed as a "black Petshop Boys ." Despite Virgin Records ' disappointment with the poor sales of Rushton's compilation,

1241-639: A term already existed in Germany but was to a large extent undefined. Dimitri Hegemann has stated that the Frankfurt definition of techno associated with Talla's Technoclub differed from that used in Berlin. Frankfurt's Armin Johnert viewed techno as having its roots in acts such DAF, Cabaret Voltaire , and Suicide , but a younger generation of club goers had a perception of the older EBM and Industrial as handed down and outdated. The Berlin scene offered an alternative and many began embracing an imported sound that

1314-778: A third member, Jon-5) as Cybotron. This trio released a number of rock and electro-inspired tunes, the most successful of which were Clear (1983) and its moodier followup, "Techno City" (1984). Atkins used the term techno to describe Cybotron's music, taking inspiration from Futurist author Alvin Toffler, the original source for words such as cybotron and metroplex . Atkins has described earlier synthesizer based acts like Kraftwerk as techno, although many would consider both Kraftwerk's and Juan's Cybotron outputs as electro. Atkins viewed Cybotron's Cosmic Cars (1982) as unique, Germanic, synthesized funk, but he later heard Afrika Bambaataa 's " Planet Rock " (1982) and considered it to be

1387-452: A time was the standard bearer for techno and played host to many of the leading Detroit producers, some of whom had relocated to Berlin. The club brought new life to the careers of Detroit artists such as Santonio Echols, Eddie Fowlkes and Blake Baxter, who played there alongside established Berlin DJs such as Dr. Motte and Tanith. According to Dan Sicko, "Germany's growing scene in the early 1990s

1460-425: A year, however, up to 10,000 people at a time were attending the first commercially organized mass parties, called raves , and a media storm ensued. The success of house and acid house paved the way for wider acceptance of the Detroit sound, and vice versa: techno was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with London clubs catching up later; but in 1987, it

1533-401: Is considered a classic in both the house and techno genres. Juan Atkins also believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound. Atkins also suggests that the Chicago house sound developed as a result of Frankie Knuckles ' using a drum machine he bought from Derrick May. He claims: Derrick sold Chicago DJ Frankie Knuckles

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1606-460: Is different from Wikidata All article disambiguation pages All disambiguation pages Secret Life (band) Secret Life was a British R&B / house and pop band active from 1991 to 1996, particularly popular in the UK and Europe . The first release by Secret Life was a white label recording called "Spanish Lullaby", written and produced by Andy Throup and Jim Di Salvo. This

1679-473: Is the influence of futuristic and science-fiction themes relevant to life in contemporary American society, with Alvin Toffler 's book The Third Wave a notable point of reference. The music produced in the mid-to-late 1980s by Juan Atkins , Derrick May , and Kevin Saunderson (collectively known as The Belleville Three ), along with Eddie Fowlkes , Blake Baxter , James Pennington and others

1752-415: Is thought to have been influenced by Dutch gabber and Belgian hardcore; styles that were in their own perverse way paying homage to Underground Resistance and Richie Hawtin's Plus 8 Records . Other influences on the development of this style were European electronic body music (EBM) groups of the mid-1980s such as DAF , Front 242 , and Nitzer Ebb . Changes were also taking place in Frankfurt during

1825-586: Is viewed as the first wave of techno from Detroit. After the success of house music in a number of European countries , techno grew in popularity in the United Kingdom , Germany , Belgium and the Netherlands . In Europe regional variants quickly evolved and by the early 1990s techno subgenres such as acid , hardcore , bleep , ambient , and dub techno had developed. Music journalists and fans of techno are generally selective in their use of

1898-580: The Midnight Funk Association , an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including WCHB , WGPR , and WJLB-FM from 1977 through the mid-1980s by DJ Charles " The Electrifying Mojo " Johnson. Mojo's show featured electronic music by artists such as Giorgio Moroder, Kraftwerk, Yellow Magic Orchestra and Tangerine Dream , alongside the funk sounds of acts such as Parliament Funkadelic and dance oriented new wave music by bands like Devo and

1971-544: The Bigod 20 collective. While this early work was strongly characterized as experimental electronic music fused with strong EBM, krautrock , synth-pop and technopop influences, the later work during the mid and late 1980s clearly transitioned to a clear techno sound. By 1987 a German party scene based around the Chicago sound was well established. In the late 1980s, acid house also established itself in West Germany as

2044-497: The Dorian Gray club in 1987. Talla's club spot served as the hub for the regional EBM and electronic music scene, and according to Jürgen Laarmann , of Frontpage magazine, it had historical merit in being the first club in Germany to play almost exclusively EDM. Inspired by Talla's music selection, in the early 80s several young artists from Frankfurt started to experiment on cassette tapes with electronic music coming from

2117-522: The Netherlands and Belgium . The growth of techno's popularity in Europe between 1988 and 1992 was largely due to the emergence of the rave scene and a thriving club culture. In the United States during the early 90s, apart from regional scenes in Detroit, New York City , Chicago and Orlando, interest in techno was limited. Many Detroit based producers, frustrated by the lack of opportunity in

2190-538: The B-52's . Atkins has noted: He [Mojo] played all the Parliament and Funkadelic that anybody ever wanted to hear. Those two groups were really big in Detroit at the time. In fact, they were one of the main reasons why disco didn't really grab hold in Detroit in '79. Mojo used to play a lot of funk just to be different from all the other stations that had gone over to disco. When ' Knee Deep ' came out, that just put

2263-537: The City Music record store, mixing the latest catalogue with additional electronic sounds and pitched BPM. This became known as the Frankfurt tape scene. The Frankfurt tape scene evolved around the early and experimental work done by the likes of Tobias Freund, Uwe Schmidt , Lars Müller and Martin Schopf. Some of the work done by Andreas Tomalla, Markus Nikolai and Thomas Franzmann evolved in collaborative work under

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2336-481: The Dance (1989) and The Beginning (1990) were credited with taking techno "in dozens of new directions at once and having the kind of expansive impact John Coltrane had on Jazz". The Birmingham -based label Network Records label was instrumental in introducing Detroit techno to British audiences. By the early 1990s, the original techno sound had garnered a large underground following in the United Kingdom , Germany,

2409-493: The Detroit scene led to the opening of a nightclub called the Music Institute (MI), located at 1315 Broadway in downtown Detroit. The venue was secured by George Baker and Alton Miller with Darryl Wynn and Derrick May participating as Friday night DJs, and Baker and Chez Damier playing to a mostly gay crowd on Saturday nights. The club closed on 24 November 1989, with Derrick May playing "Strings of Life" along with

2482-551: The European synthesizer tradition. He also identified Japanese synth-pop act Yellow Magic Orchestra , particularly member Ryuichi Sakamoto , and British band Ultravox , as influences, along with Kraftwerk. YMO's song " Technopolis " (1979), a tribute to Tokyo as an electronic mecca, is considered an "interesting contribution" to the development of Detroit techno, foreshadowing concepts that Atkins and Davis would later explore with Cybotron. Kevin Saunderson has also acknowledged

2555-523: The Mayday mix (for the show Street Beat on Detroit's WJLB radio station) and run Transmat records. Commercially, the release did not fare as well and failed to recoup , but Inner City's production " Big Fun " (1988), a track that was almost not included on the compilation, became a crossover hit in fall 1988. The record was also responsible for bringing industry attention to May, Atkins and Saunderson, which led to discussions with ZTT records about forming

2628-450: The US, looked to Europe for a future livelihood. This first wave of Detroit expatriates was soon joined by a so-called "second wave" that included Carl Craig, Octave One , Jay Denham, Kenny Larkin , Stacey Pullen , and UR 's Jeff Mills , Mike Banks , and Robert Hood . In the same period, close to Detroit ( Windsor, Ontario ), Richie Hawtin , with business partner John Acquaviva , launched

2701-475: The X-tasy Dance Project, were organizing the first large scale rave events in Germany. This development would lead to a permanent move away from the sound associated with Techno-House and toward a hard edged mix of music that came to define Tanith and Wolle's Tekknozid parties. According to Wolle it was an "out and out rejection of disco values," instead they created a "sound storm" and encouraged

2774-688: The album is topped off with... thoughtful lyrics and smooth vocals." From 1992 to 1996, the group released eight singles and one album. Five of the singles reached Number 1 on the Coolcuts and Mixmag dance charts in the United Kingdom. Two of the singles were also Top 40 hit record on the UK Singles Chart . Pulse-8 Records subsequently went bankrupt, ending prospects of further releases through that label. Throup, now known as Andrew Grainger, moved to New York in 2000, and became

2847-563: The band in 1993 to set up "Bass Boom" recording studios. Di Salvo then released numerous singles and albums under his own name, and the alias act names of "The Juggler", "Bong Brothers" and "Salvo Jets", during the 1990s. One of Secret Life's first singles "As Always", a 1992 dance arrangement of Stevie Wonder's " As ", was one of the most successful records issued by their then label, Cowboy Records, associated with their manager, Charlie Chester. After house producers Masters At Work remixed Secret Life's "Borrowed Time" (1994), Chester moved

2920-601: The band to Pulse-8 Records, with a view to enhanced pop appeal. He was able to obtain an eight album deal from the label. The group was now a core duo of Bryant and Throup. A pop-oriented single, "Love So Strong", previously issued by Cowboy Records in 1993, was remixed and released by Pulse-8 in 1994. Three other singles were released in 1994, followed by an album, Sole Purpose , in 1995. According to one reviewer, "Production from Brothers in Rhythm , Chris Porter and Pete Gleadall give Sole Purpose an R&B and house feel, and

2993-562: The best of the best. Though short-lived, MI was known internationally for its all-night sets, its sparse white rooms, and its juice bar stocked with " smart drinks " (the Institute never served liquor). The MI, notes Dan Sicko, along with Detroit's early techno pioneers, "helped give life to one of the city's important musical subcultures – one that was slowly growing into an international scene." In 1982, while working at Frankfurt's City Music record store, DJ Talla 2XLC started to use

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3066-463: The compilation put techno into the lexicon of music journalism in the UK, the music was initially viewed as Detroit's interpretation of Chicago house rather than as a separate genre. The compilation's working title had been The House Sound of Detroit until the addition of Atkins' song "Techno Music" prompted reconsideration. Rushton was later quoted as saying he, Atkins, May, and Saunderson came up with

3139-677: The compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they instead favored a term they were already using, techno . Derrick May views this as one of his busiest times and recalls that it was a period where he I was working with Carl Craig , helping Kevin, helping Juan, trying to put Neil Rushton in the right position to meet everybody, trying to get Blake Baxter endorsed so that everyone liked him, trying to convince Shake ( Anthony Shakir ) that he should be more assertive... and keep making music as well as do

3212-589: The early 1990s as Tekkno (or Brett ). This alternative spelling, with varying numbers of k s, began as a tongue-in-cheek attempt to emphasize the music's hardness, but by the mid-1990s it came to be associated with a controversial point of view that the music was and perhaps always had been wholly separate from Detroit's techno , deriving instead from a 1980s EBM-oriented club scene cultivated in part by DJ/musician Talla 2XLC in Frankfurt. At some point tension over "who defines techno" arose between scenes in Frankfurt and Berlin. DJ Tanith has expressed that Techno as

3285-495: The early locations where the musical form was nurtured. Of the four individuals responsible for establishing techno as a genre in its own right, Juan Atkins is widely cited as "The Originator". In 1995, the American music technology publication Keyboard Magazine honored him as one of 12 Who Count in the history of keyboard music. In the early 1980s, Atkins began recording with musical partner Richard Davis (and later with

3358-748: The first Love Parade in West Berlin, just a few months before the Fall of the Berlin Wall . Following the fall of the Berlin Wall on 9 November 1989 and the German reunification in October 1990, free underground techno parties mushroomed in East Berlin . East German DJ Paul van Dyk has remarked that techno was a major force in reestablishing social connections between East and West Germany during

3431-641: The first DJ in Germany to be worshipped like a rock star. He performed center stage with his fans facing him, and as co-owner of Omen, he is believed to have been the first techno DJ to run his own club. One of the few real alternatives then was The Bruckenkopf in Mainz , underneath a Rhine bridge, a venue that offered a non-commercial alternative to Frankfurt's discothèque -based clubs. Other notable underground parties were those run by Force Inc. Music Works and Ata & Heiko from Playhouse records ( Ongaku Musik ). By 1992 DJ Dag & Torsten Fenslau were running

3504-519: The following year. During the late 1970s and early 1980s, high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends allowed the young promoters to develop and nurture a local dance music scene. As the local scene grew in popularity, DJs began to band together to market their mixing skills and sound systems to clubs that were hoping to attract larger audiences. Local church activity centers, vacant warehouses, offices, and YMCA auditoriums were

3577-530: The increasing affordability of sequencers and synthesizers, merged a European synth-pop aesthetic with aspects of soul , funk, disco, and electro, pushing EDM into uncharted terrain. They deliberately rejected the Motown legacy and traditional formulas of R&B and soul, and instead embraced technological experimentation. Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it. As

3650-525: The influence of Europe but he claims to have been more inspired by the idea of making music with electronic equipment: "I was more infatuated with the idea that I can do this all myself." These early Detroit techno artists additionally employed science fiction imagery to articulate their visions of a transformed society. Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians, "mix" tape traders, and aspiring DJs. They also found musical inspiration via

3723-401: The influence of Kraftwerk and other European synthesizer music in commenting that "it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty... everything is an ugly mess in Detroit, and so we were attracted to this music. It, like, ignited our imagination!". May has commented that he considered his music a direct continuation of

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3796-578: The last nail in the coffin of disco music. 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 party crew called Deep Space Soundworks (also referred to as Deep Space). In 1980 or 1981, they met with Mojo and proposed that they provide mixes for his show, which they did end up doing

3869-827: The music played at warehouse parties was predominantly house. That same year, the Balearic party vibe associated with Ibiza-based DJ Alfredo Fiorito was transported to London, when Danny Rampling and Paul Oakenfold opened the clubs Shoom and Spectrum, respectively. Both night spots quickly became synonymous with acid house, and it was during this period that the use of MDMA , as a party drug, started to gain prominence. Other important UK clubs at this time included Back to Basics in Leeds , Sheffield's Leadmill and Music Factory, and in Manchester The Haçienda , where Mike Pickering and Graeme Park's Friday night spot, Nude,

3942-525: The music you listen to is made with technology, whether you know it or not. But with techno music, you know it." One of the first Detroit productions to receive wider attention was Derrick May's " Strings of Life " (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987–1988 house music boom (see Second Summer of Love ). It became May's best known track, which, according to Frankie Knuckles, "just exploded. It

4015-475: The price of sequencers and synthesizers has dropped, so the experimentation has become more intense. Basically, we're tired of hearing about being in love or falling out, tired of the R&;B system, so a new progressive sound has emerged. We call it techno! The resulting Detroit sound was interpreted by Derrick May and one journalist in 1988 as a "post-soul" sound with no debt to Motown , but by another journalist

4088-414: The producer's own album E=MC . Atkins also mentions that "around 1980, I had a tape of nothing but Kraftwerk, Telex , Devo , Giorgio Moroder and Gary Numan , and I'd ride around in my car playing it." Regarding his initial impression of Kraftwerk, Atkins notes that they were "clean and precise" relative to the "weird UFO sounds" featured in his seemingly " psychedelic " music. Derrick May identified

4161-457: The record was successful in establishing an identity for techno and was instrumental in creating a platform in Europe for both the music and its producers. Ultimately, the release served to distinguish the Detroit sound from Chicago house and other forms of underground dance music that were emerging during the rave era of the late 1980s and early 1990s, a period during which techno became more adventurous and distinct. In mid-1988, developments in

4234-410: The role of rhythm over other musical aspects . Vocals and melodies are uncommon. The use of sound synthesis in developing distinctive timbres tends to feature more prominently. Typical harmonic practices found in other forms of music are often ignored in favor of repetitive sequences of notes. More generally the creation of techno is heavily dependent on music production technology . Use of

4307-479: The same period but it did not share the egalitarian approach found in the Berlin party scene. It was instead very much centered around discothèques and existing arrangements with various club owners. In 1988, after the Omen opened, the Frankfurt dance music scene was allegedly dominated by the club's management and they made it difficult for other promoters to get a start. By the early 1990s Sven Väth had become perhaps

4380-470: The techno imprint Plus 8 Records. A number of New York producers also made an impression in Europe at this time, most notably Frankie Bones , Lenny Dee, and Joey Beltram . These developments in American-produced techno between 1990 and 1992 fueled the expansion and eventual divergence of techno in Europe, particularly in Germany. In Berlin , the club Tresor which had opened in 1991 for

4453-415: The term techno to categorize artists such as Depeche Mode , Front 242 , Heaven 17 , Kraftwerk and New Order , with the word used as shorthand for technologically created dance music. Talla's categorization became a point of reference for other DJs, including Sven Väth . Talla further popularized the term in Germany when he founded Technoclub at Frankfurt's No Name Club in 1984, which later moved to

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4526-548: The term "techno" to refer to a type of electronic music originated in Germany in the early 1980s. In 1988, following the UK release of the compilation Techno! The New Dance Sound of Detroit , the term came to be associated with a form of EDM produced in Detroit . Detroit techno resulted from the melding of synth-pop by artists such as Kraftwerk , Giorgio Moroder and Yellow Magic Orchestra with African-American music such as house , electro , and funk . Added to this

4599-555: The term, so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance . In exploring Detroit techno's origins, writer Kodwo Eshun maintains that "Kraftwerk are to techno what Muddy Waters is to the Rolling Stones : the authentic, the origin, the real." Juan Atkins has acknowledged that he had an early enthusiasm for Kraftwerk and Giorgio Moroder , particularly Moroder's work with Donna Summer and

4672-712: The unification period. In the now reunified Berlin, several locations opened near the foundations of the Berlin Wall in the former eastern part of the city from 1991 onwards: the Tresor (est. 1991), the Planet (1991–1993), the Bunker (1992–1996), and the E-Werk (1993–1997). It was in Tresor at this time that a trend in paramilitary clothing was established (amongst the techno fraternity) by DJ Tanith ; possibly as an expression of

4745-408: Was "Strings of Life" which eased London club-goers into acceptance of house, according to DJ Mark Moore. The mid-1988 UK release of Techno! The New Dance Sound of Detroit , an album compiled by ex- Northern Soul DJ and Kool Kat Records boss Neil Rushton (at the time an A&R scout for Virgin's "10 Records" imprint) and Derrick May, introduced of the word techno to UK audiences. Although

4818-402: Was a place for the formation of the southern German techno scene, where protagonists such as DJ Hell , Monika Kruse , Tom Novy or Woody came together. In 1993–94 rave became a mainstream music phenomenon in Germany, seeing with it a return to "melody, New Age elements, insistently kitsch harmonies and timbres". This undermining of the German underground sound lead to the consolidation of

4891-473: Was an important proving ground for American underground dance music . Acid house party fever escalated in London and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A.M. closing hours, sought refuge in the warehouse party scene that ran all night. To escape the attention of the press and the authorities, this after-hours activity quickly went underground. Within

4964-522: Was being referred to as Techno-House. The move away from EBM had started in Berlin when acid house became popular, thanks to Monika Dietl's radio show on SFB 4 . Tanith distinguished acid-based dance music from the earlier approaches, whether it be DAF or Nitzer Ebb, because the latter was aggressive, he felt that it epitomized "being against something," but of acid house he said, "it's electronic, it's fun it's nice." By Spring 1990, Tanith, along with Wolle XDP , an East-Berlin party organizer responsible for

5037-411: Was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline." By 1988, house music had exploded in the UK, and acid house was increasingly popular. There was also a long-established warehouse party subculture based around the sound system scene. In 1988,

5110-410: Was making regular trips between Detroit and Chicago. So when I came out with 'No UFO's,' he took copies out to Chicago and gave them to some DJs, and it just happened. The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and influenced by house in particular. May's 1987 hit " Strings of Life " (released under the alias Rhythim Is Rhythim [sic])

5183-752: Was on the mic, and they sampled that and played it over the drumtrack pattern. Having got the drum machine and the sampler, they could make their own tunes to play at parties. One thing just led to another, and Chip E used the 909 to make his own record, and from then on, all these DJs in Chicago borrowed that 909 to come out with their own records. In the UK, a club following for house music grew steadily from 1985, with interest sustained by scenes in London, Manchester, Nottingham, and later Sheffield and Leeds. The DJs thought to be responsible for house's early UK success include Mike Pickering , Mark Moore , Colin Faver , and Graeme Park (DJ) . The early producers, enabled by

5256-485: Was the vocalist. Bryant and Throup co-wrote most of Secret Life's material. Contemporaneous to the development of Secret Life, Throup was also working with others involved with techno and house music, such as noted techno and house DJ Lenny Dee. The band toured extensively, particularly in the United Kingdom, and performed on three popular UK TV music shows: The Beat , Dance Energy and The Hitman and Her . They also released several music videos . Di Salvo left

5329-531: Was their first release from their "No Fixed Abode" recording studio, set up in South London . The band then increased in size with the addition of Charlton Antenbring and Paul Bryant. Antenbring was a fashion student, disc jockey and reporter for The Big Issue . Jim Di Salvo contributed on guitars, cubase programming, sampling and music production. Throup was a classically trained pianist and contributed to cubase programming and music production. Bryant

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