“The focus of this project and presentation examines the art of mental persuasion and how the mind can control as well as fall vulnerable to subservient ways,” Mills said of the album, according to a press release. “It allows the means to look creatively and more in-depth to a subject that applies to every person and at every stage of life because how we perceive or sense something is part of our evolutionary survival pattern.”

Mills statement continues: “Because there is no exact mental compatibility between any of us, speculation and misconceptions are not exemplary, so an emphasis on ‘the presentation of facts, ideas and methods and what we knew as true by example’ are the major points that drives the overall purpose of this album project.”

Jeff Mills – Mind Power Mind Control from AxisRecords on Vimeo.

The music itself encompasses a diverse range of rhythms, tempos, and textures without abandoning Mills’ experimental yet somehow familiar take on techno. Film score samples give way to tones reminiscent of Indonesian gamelan ensembles in “Scarlet,” whereas a syncopated beat creeps along to set a suspenseful ambience in “Hatsumi.” “Transmutation” comprises warbling, soft-edged synths juxtaposed with heavy bass stabs and no percussion to speak of. The digital release includes two bonus tracks: the vaguely orchestral “Radiance” and “Units.”

Few artists have contributed as much to the subtle mystique of techno as Jeff Mills. Originally a hip-hop DJ known as “The Wizard” for his sets on Detroit radio station WDRQ, he produced music as one half of the industrial duo Final Cut before making a name for himself globally as one of the cofounders of Underground Resistance. The group posed incisive social commentary on predatory music industry practices with the broader mission of paving a path forward for young, Black men.

In November of last year, Mills found himself on the receiving end of industry critique. Along with techno superstars like Amelie Lens, Carl Cox, and Sven Väth, he appeared on the lineup of a Saudi Arabian festival called MDL Beast. Human Rights Watch called the gathering a “reputation-launder scheme” and encouraged artists to speak against the Saudi government’s human rights abuses or not participate.

Mills defended his appearance in a subsequent statement. “…We never know who might be there in the audience, listening, and trying to connect with something greater than ourselves [sic],” he wrote. “This music needs to be accessible to anyone and everywhere!”

Jeff Mills also recently closed out the main stage of Movement Electronic Music Festival 2022 on the final day. Read Selector’s full review of the three-day gathering here, and purchase Mind Power Mind Control in digital or double 12-inch vinyl record format on the Axis Records website.

Oldham has been based in Berlin since 2005, and it’s rubbed off on him in the best way. The dark, bouncy “Untergang” merges his native Detroit techno style with hard-hitting beats typical of prime-time sets at Tresor. It’s not off base considering he released a double LP/CD for Tresor’s imprint back in 1999.

Anyone who has followed Oldham’s four-decade career knows he’s more than meets the eye. A multifaceted talent, he started out as a cartoonist, graphic designer and radio host. He put the likes of Richie Hawtin, Carl Craig and his mentor Mad Mike Banks from Underground Resistance on the Detroit airwaves.

By creating art for their releases, Alan Oldham became entrenched in the Detroit scene and eventually made his own name as DJ T-1000, producing live techno DJ sets and recordings on two proprietary labels. He simultaneously maintains a strong presence in the fine art world, showing large-scale drawings and paintings internationally to sold-out acclaim.

Don’t Complain, Don’t Explain Tracklist:

1. 1. Untergang
   2. Codeswitch
   3. Indonesian Girl
   4. Resonance
   5. Resonance (Gene Richards Jr. Remix)

As with previous Monobox releases, the EP affords Hood the opportunity to explore a more cinematic style than the loopy techno encapsulated in Minimal Nation (which he rereleased in August). Included is a remix of the title track by London producer Ø [Phase] with more traditionally repetitive elements, however. Rounding out the effort is a “Robert Hood Re-Plant” of said single as well as a more serene soundscape titled “Homestead.”

Black Box

Robert Hood followed up the 1996 release of Realm with Monobox EPs like Downtown in 1997 and Population in 2001. 2003 marked the project’s debut studio-length album Molecule – also its first release on Logistic Records as opposed to M-Plant. After several remix packs via Logistic, Hood brought Monobox back to M-Plant with the 2014 two-tracker Film / Rectangle.

Hood, whose indelible work in Detroit techno extends back to his history as a co-founder of Underground Resistance, spoke about Monobox in a Red Bull Music Academy interview coinciding with the latter release. “Monobox was an alien project,” he said. “I read this book when I was probably around 13 or 14.  It was this ominous black box that came from some other universe, and it was just sort of hovering over the planet, over a cornfield somewhere.”

“After maybe a few weeks it began to open up and objects and these creatures from another world began to emerge from this box,” he continued. “The whole thing about Monobox was that it was an alien life form. To approach minimalism from an alien futuristic perspective.”

The Forwardbase Kodai EP and Regenerate follow Mirror Man, a full-length album Robert Hood released via Rekids in November 2020.

The seminal minimal techno album will be repressed as a triple white vinyl via Hood’s M-Plant record label nearly 30 years after its debut on Jeff Mills‘ Axis Records imprint. It will also release as a CD, and both formats will feature remastered versions of all eight original tracks. Among them are the immortal “Rhythm Of Vision,” plus the unreleased “SH-101” from the Minimal Nation recording sessions, as well as the ultra-rare “Self-Powered” from the album’s test pressing.

The reissue follows two prior releases; in 2015 Minimal Nation was reissued via Hood’s imprint, and before that in 2009.

“I was fooling around with a [Roland Alpha] Juno 2 keyboard and I came across this chord sound,” Hood explained to Resident Advisor when Minimal Nation was reissued in 2009. “Once I had that chord sound and a particular pattern I realized I didn’t need anything else.”

Hood described his sound to FADER in 2013 as “minimum structure” and “maximum soul.” “At the time, I really didn’t understand the purpose and the vision and where it was emanating from, but I knew it was spiritual,” he told the publication.

The repressing of Robert Hood’s Minimal Nation will be released this August via M-Plant.

The title track sees CloudMasterWeed meld his soulful style of deep house with orchestral stabs and a spoken-word sample. Barnett reimagines the single as an uplifting techno cut, whereas Native 97 opts for the understated groove of minimal house. The  breathy diva vocals and chunky bass line of “U & Me Alone” round out the EP on a memorable note.

Steeped in hip-hop culture as a dancer and emcee since the ’80s, CloudMasterWeed converted to house music after discovering Detroit artist Moodymann in the ’90s. He became a staple of Movement Electronic Music Festival from 2008 and released his debut single, “Oh Yeah,” via Soiree Records the following year.

Thomas Barnett is among the small handful of artists most closely associated with the birth of Detroit techno. In addition a credit on the 1987 Rhythim is Rhythim single “Nude Photo,” the Detroit native has released on such labels as Climax, Warp and React.

The Anything Is Possible EP will be available for pre-order beginning July 23rd.

Fowlkes opts for his jazzy, slow-burning style in “Hold Me Down,” gradually layering on sonic elements before the titular vocal. “What It Do!” follows with more driving bass and organic textures, its spoken-word samples rounding out the release with attitude and flavor.

Made in Detroit

One of the earliest artists associated with Detroit techno, Eddie Fowlkes planted his roots in in the city’s early ’80s high school dance scene. Those humble beginnings would grow into a globetrotting DJ career by the early ’90s as techno became a sought-after European import.

Three decades later, Fowlkes has maintained a consistent release schedule. Knuckle Head Series Vol. 6 came out in April, and a track of his titled “1-2-3” will appear on the third and final volume of EPM20 in July.

Fowlkes will perform next at Detroit Legends, a live-streamed event organized by #StayHomeFestival and DanceTelevision, on June 1st.

Among the names gracing the tracklist are key Detroit techno trailblazers Jeff Mills, Juan Atkins, Terrence Dixon, Robert Hood and Claude Young. Techno artists from across the pond such as Surgeon and Moritz von Oswald are featured as well, along with electro mainstays like Drexciya, Helena Hauff and DJ Stingray.

The Detroit-Berlin Connection

Tresor opened its doors in 1991 – following the demise of founder Dimitri Hegemann‘s Ufo Club, and shortly before the fall of the Berlin Wall. It became not only a symbol of Germany’s reunification, but of the bond between its capital city and the electronic musicians of Detroit. The speaker system was fine tuned with DJs like Mills and Dixon in mind, and along with their contemporaries they became fixtures of the club.

Tresor Records was launched the same year, and it has provided a platform for innumerable artists over its 30-year lifetime. In addition to the aforementioned producers, Joey Beltram, Blake Baxter, Neil Landstrumm and The Advent have released on the label.

Preorder Tresor 30 on the club’s website and find the tracklist for the box set below.

The techno EP, out May 28th, comprises singles by Robert Hood, Ben Sims, James Ruskin and Mark Broom. June 25th marks the release of the electro EP, for which Carl Finlow, Detroit’s Filthiest, Freddy Fresh as Modulator, as well as The Advent and Zein Ferrara have offered up music. Closing out the series on July 30th is the house EP, whose tracklist includes songs by Eddie Fowlkes, Jon Dixon, DJ 3000, and Rico & Sonny.

Following the conclusion of EPM20, a compilation of the same name will arrive at an as yet unannounced time.

20 Years of EPM Music

EPM Music, the brainchild of Oliver Way and Jonas Stone, originally served as a booking agency and PR company. Over the years it expanded to include distribution, rights management, and record label services. Dekmantel, M-Plant, Avian and Hot Elephant Music are but a few of the labels they represent.

The 20-year anniversary EP series will be dedicated to the memory of Detroit techno DJ and producer Tim Baker, who passed away in early April. “EPM20 is dedicated to the memory of one of the most beautiful souls in the scene, Tim Baker who has been taken from us far too soon,” reads a press release. “Your music shines on.”

EPM20 will be available for purchase in vinyl format, with specially designed sleeves for the series. Find the tracklist for each installment below.

EPM21V / EPM90:

1. Robert Hood – Shadows
2. Ben Sims – Xotnuc
3. James Ruskin – There Was A Time
4. Mark Broom – The Three Swords

EPM22V / EPM91:

1. The Advent & Zein Ferreira – Strangeform
2. Carl Finlow – Optogenetic
3. Detroit’s Filthiest – Werewolf
4. Modulator aka Freddy Fresh – ProMars

EPM23V / EPM92:

1. Eddie Fowlkes – 1-2-3
2. Jon Dixon – Mack & Bewick
3. DJ 3000 – Summer 1995
4. Rico & Sonny – The Beat

The original version of the single appeared on Think Again, the Millsart EP that directly followed the conclusion of the project’s 20-year-running Every Dog Has Its Day series. Leafar’s instrumental abstractions complement the dissonant progression of the source material well, expanding the range of emotion captured in the core motif.

“When I created ‘Infinite Voyage’ for the Millsart Think Again album, I had a feeling that I was just skimming the top of this concept and that there could be more work to do on it,” said Mills in a press release. “When a close friend in Detroit turned me onto Rafael Leafar and what an amazing musician he is, I thought this might be an opportunity to explore further.”

He continued: “What Rafael did was re-adjust context of time and atmosphere that surrounds the the elements by an almost orchestral way of adding various horn parts and effects. Now, its deeper than deep!”

Jeff Mills needs no introduction among longtime fans of electronic music; over the course of his nearly 40-year career his music and philosophies have played an integral role in the evolution of techno. Leafar, by comparison, boasts a shorter tenure. Since 2009, however, the Detroit Civic Jazz Orchestra alumni has managed to work with the likes of Reggie Workman, Robert Hurst, Marcus Belgrave, Luis Resto, Vincent Chandler, Jeff Tain Watts, Marion Hayden, and Sterling Toles.

Mills himself has been notably drawn to the same styles as of late. Last spring, he shared plans to expand Axis Records’ offerings to include jazz, classical and film scores, and in January he released an electronic jazz album titled Counter Active alongside instrumentalist Jean-Phi Dary as The Paradox.

The update of “The Infinite Voyage” will arrive in digital format only to accompany the vinyl record release of Think Again on April 16th.

The two-tracker starts out with “Test Unknown,” a stripped-down yet cerebral cut that showcases Fowlkes’ distinctive technosoul style. “All The Way Edits” follows with a more layered motif, its simple vocal refrain setting the pace as subtle elements gradually feather in. As a whole, the effort encapsulates the mixture of melody and dissonance characteristic of early Detroit techno while still bearing the unique hallmarks of Fowlkes’ sound.

Eddie Fowlkes was one of the earliest producers of the electronic music that would come to be known as Detroit techno, with his discography dating back to “Goodbye Kiss” in 1986. His music appeared on the 1988 Virgin Records UK compilation Techno! The New Dance Sound of Detroit, which popularized the style overseas.

February 2020 marked the debut of the Knuckle Head Series as well as the relaunch of Fowlkes’ City Boy Music record label. Prior to that, he primarily released music via his other imprint, Detroit Wax, after landing on mainstay labels like Tresor Records and Metroplex.

Knuckle Head Series Vol. 6 will be followed by the next edition of the series in May.