This is a new online techno documentary backed by the ABC (Australian Broadcasting Commission). It centres on the Australian movement, but there's a whole section devoted to Detroit as well as interviews with Derrick May, Stacey Pullen and others as well as some of the movers behind the scene in Australia, from promoters to DJs and producers, including Richard Maher, who first toured the likes of Atkins, May, Mills, etc, as well as Richie Rich who has put on memorable events with Mills and Hawtin and been very consistent, with a label, store, etc, as well as Voiteck and others. I have only seen a little, and I think you need Flash.
Sounds Like Techno is a new online documentary looking at the history of techno music in Australia. www.soundsliketechno.com.au Media Release A history of techno music in Australia Sounds Like Techno is a new online documentary exploring techno music, from its roots and early influences to its place in Australian music today. Produced by Springtime Productions, with the assistance of the ABC Film Victoria Multimedia Production Accord, the site is now live at www.soundsliketechno.com.au. Featuring local and international artists, event promoters, managers of independent record labels and music from some of the most important DJs from Detroit to Melbourne, Sounds Like Techno is a unique Australian website which combines a broad range of opinions, styles and influences that are inherent to this subculture. With the birth of techno, music has entered a new era. For some people it is noise, for others it is the music of the future. But whatever it is, or sounds like, techno has become popular. It has grown from a subculture ten years ago, to a substantial industry today. Sounds Like Techno documents the history of techno music overseas and in Australia, its origins in the evolution of electronic music, and offers an insight into the making of the music and the tools involved. The site examines the impact and effect that the digital revolution has had on this genre. It looks at the way artists and producers use digital equipment and software to produce, promote and distribute their work locally and globally, finding new ways to establish their independence in the network of an 'old-school' record industry. Sounds Like Techno presents four chapters, each consisting of sound bites, text quotes, narration, interviews and voice-overs. It can be viewed as a multimedia collage using a Flash player, or by browsing the text only version. The site features interviews and music from some of the most important names in techno including Detroit DJs, Stacey Pullen, Derrick May and Juan Atkins, Kraftwerk's Ralf Huetter, Australia's Voiteck, Richie Rich, Ollie Olsen, Brewster B and Steve Law, and many others from Australia, Europe, USA and the UK. The four chapters cover: Detroit Roots The story of techno starts in Detroit, USA, and this chapter looks at the social and cultural environment that paved the way for a new electronic sound. Juan Atkins, Derrick May and Kevin Saunderson, in the quiet middle class town of Belleville outside of Detroit, would become know as the 'Holy Trinity of Techno', and soon inspire generations to come. The chapter acknowledges the enormous influence of Kraftwerk on the creation of techno and how the club scene in Chicago became the testing ground for the new sound. In the late 1980s, the Detroit sound was named 'techno' and migrated across the Atlantic to the UK, before reaching Europe in the early 90s where it mutated further. Germany embraced the sound, with the creation of the influential Tresor label marking techno as an independent force in the commercial music industry. Australian Story 1988 in the UK is known as the 'Summer of Love' and introduced the acid house sounds to clubs in Melbourne and Sydney. The Commerce Club in Melbourne became the first techno club in Australia and DJs began opening their own record stores to get music out to techno fans. In the early 90s, warehouse parties, outdoor raves and techno clubs took off, and at the same time, a creative community emerged around the scene incorporating design, fashion and visual arts. In 1995, when the riot police shut down a party in Sydney Park with a baton charge, the scene in Sydney changed. Now, dance parties around Australia are mostly big business in the music industry, but techno still exists underground. Man and Machine This chapter looks at the tools and technology of techno. There is a long tradition of experimental music in Australia, from the early days of bands like Whirlywirld and Severed Heads. But as techno came to Australia, more people were inspired to make their own music. Early techno DJs and producers used synthesisers and drum machines, but digital technology and in particular the digital sampler has opened up new ways of making music. Today, do-it-yourself production and self-publishing has become a reality. Future Music So what shape is the Australian techno industry in today and what does the future look like? Techno has fuelled a growth in the number of independent producers making and releasing music in Australia, but it's still a small market compared to overseas and it's hard to make it big. Despite these difficulties, many labels have survived and thrived and some have even signed up with major record labels, with mixed results. The digital revolution has made it easier for artists to get their music out there, via the web, the accessibility of MP3s and CD-burning. As the industry has grown, so has the politics and money involved, which has changed the culture from its early underground roots. But techno now has a distinctly Australian flavour that is known and loved around the world and is here to stay. Sounds Like Techno is a rich documentary and a must visit for anyone interested in music. www.soundsliketechno.com.au
