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Ambient techno is a subgenre of techno that incorporates the atmospheric textures of ambient music with the rhythmic elements and production of techno. [1] It was pioneered by 1990s electronic artists such as Aphex Twin, Carl Craig, The Orb, The Future Sound of London, the Black Dog, Pete Namlook and Biosphere.
L.A. Style was a Dutch electronic dance music group, consisting of founder, producer and radio DJ Wessel van Diepen (who later also created Nakatomi and the successful Vengaboys), composer Denzil Slemming (a.k.a. Michiel Van Der Kuy of Laserdance fame) and FX aka Frans Merkx, as well as Foco (Alfons "Fonny" de Wulf) and Ray Decadance (surname Muylle) of the Belgian project Rofo (credited i.e ...
Tech house is a subgenre of house music that combines stylistic features of techno with house. The term tech house developed as a shorthand record store name for a category of electronic dance music that combined musical aspects of techno, such as "rugged basslines" and "steely beats", with the harmonies and grooves of progressive house.
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 the term, so a clear distinction can be made between sometimes related but often qualitatively different styles ...
In 2013, he won Best Techno Track at the International Dance Music Awards, [3] and the following year he won Best Techno/Tech House Artist. [3] He has released singles and remixes on Spinnin' Records and Ultra Records. Since 2015 UMEK switched back to darker techno style [4] and is now releasing mostly on his own imprint 1605.
Compiled by techno producer Derrick May and Kool Kat Records boss Neil Rushton (at the time an A&R scout for Virgin's "10 Records" UK imprint), the album was an important milestone and marked, in the UK, the introduction of the word techno in reference to a specific genre of music.
In 1988, dance music entrepreneur 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 term that Atkins had been using since his Cybotron days ("Techno City" was an early single). [10]
The band's 1978 self-titled album Yellow Magic Orchestra was successful and the studio project grew into a fully fledged touring band and career for its three members. The album featured the use of computer technology (along with synthesizers) which, according to Billboard, allowed the group to create a new sound that was not possible until then. [24]