Tuning Circuits / Global Techno Power / Manuel Göttsching - Sock Pack
3-in-1 Sock Package - 80% Cotton / 20% Spandex
One Size (US 6-13)
1. Tuning Circuits
Behind Tuning Circuits is one René Bakker from Tholen, Netherlands, who plays all rhythms, synths, vocals, effect, tape and radio. RB’s first tape is “30 Minutes Of My Life, A Trip Through The Audio Spectrum”:
“All tracks were made at home March 1990 with analog equipment and recorded live. Every track was born while making it and could be made only once, because TC does not use multi-track recording but jacks the output signals straight into the audio amplifier. This method of working ensures maximum emotional outbursts. Furthermore TC does not use complete rhythm-tracks but only separate programmed rhythm-patterns in combination with several sequencers and synthesizers. TC hates samples and does not use tapes on this K7, only vocoded voice. No stereo, you are guaranteed of absolute mono quality without dolby. Tuning Circuits is RB + equipment. PLAY VERY LOUD!!!! Limited edition of 100 copies”
“What! Hardcore industrial noise, distorted vocals and house rhythms all together? Yes! It’s time for Tuning Circuits - 30 Minutes of My Life, a Trip Through the Audio Spectrum. The audio-cassette that will change your world! Non-concessive creative energy against the common lack of new ideas and thrown away idealism for easy money!! A totally freaked out power electronics release. Order yours now! Send HFL.15— (only cash, no cheques) for a real time copied high quality cassette, including P&P, to Tuning Circuits, P.O. Box 64, 4690 AB Tholen, Holland. If you want to pay with the currency of your own country: Ask first! Oops! Almost Forgotten! It’s a limited edition of only 100 copies, so if you’re interested…hope to torture your ears and feet soon!”
No Compassion, his second tape, was issued only a few months after his 30 Minutes Of My Life debut. Originally released in 1990 on C60 cassette in a limited edition of 200 hand numbered copies.
“All rhythms, synths, vocals, effect, tape and radio manipulations by RB. Recorded live at home April/May 1990. No mixing or editing afterwards, no samples, no stereo, no dolby. Write for more information to Tuning Circuits, P.O. Box 64, 4690 AB Tholen, Holland. PLAY THIS ANALOG DANCECORE VERY LOUD!!!! TC May 1990"
2. Global Techno Power
Coinciding with the advent of Global Techno Power (GTP), a fanzine started in 1991 by Robert Hood, visuals also became increasingly important. GTP shared space and resources with Submerge and helped connect Detroit to the emerging techno and rave scenes worldwide.
303 Grand River – Detroit
Centered around GTP, the dozen or so labels swapped ideas and took on bizarre, tongue-in-cheek artist names like Life After Mutation and DR. Kevorkian. In a way, the creativity buzzing around the Submerge offices was not unlike that of Techno Boulevard in the mid- to late 1980s.
Chicago • Detroit • Berlin
Even harder to find than the first 'Global Techno Power' compilation. If you get a chance, don't hesitate. Rare Detroit Techno tracks - most of them unfindable in digital format anywhere else than on this long out-of-print release from Japan. My favourite track on this compilation is taken from Robert Hood's Hardwax release as Dr. Kevorkian, 'The Aftermath' (which was initially entitled 'Suicide Machine'). A highly addictive tune, layering different acidic basslines synths and dramatic strings repeating slight variations of the same melody over and over in different combinations without getting dull. Destroys any dancefloor for sure - so much for the title... Drexciya (as L. A. M.) deliver a completly freaked out electro track, while Underground Resistance's offerings range from their well known aggressive, militant Techno ('Kamikaze', 'Rage') to spiritual journeys on the 909 ('Backroad To Nirvana', 'Antidote'). And of course, Robert Hood's other guises provide great material, too. This is a must. -Discogs user techsoul, July 28, 2008
Rave/Techno print media Dance Music Report 636 Broadway, Suite 804, New York, NY 10012 (212)677-6770 Dataflow PO Box 187, London SW192JJ (Lee Newman & Michael Wells aka GTO) DJ 4th floor, Centro House, Mandela St London NW1 0DU 071-387 3848 DJ Times 25 Willowdale ave, Port Washington, NY 10050 DMA 7943 Paxton Ave, Tinley Park, IL 60477 eDEN 171 Rue Lafayette, 75010 Paris, France (In French.) Global Techno Power 2030 Grand River, Suite 303 Detroit MI 48226 313 963 0509 Matrix 600 River Place #6632 Detroit MI 48207-5026, email@example.com MixMag P.O. Box 89, Slough,Berks, SL18 NA, NY NY 10012 MixMag N.Y. 666 Broadway, Ste 3, NY NY 10012 MOVE 100 W. Livingston St, Orlando, FLA 32801 FAX(407)339-4507 Project X 37 West 20th Street Suite #1007, NYC, NY 10011 STOMP! Magazin Im Weidenbruch 3, 5000 Koln 80, Deutschland Streetsound 174 Spadina Ave, Lewiston, NY 14092 Tech 17 #101 - 1265 Dogwood Cres, North Vancouver BC V7P 1H2 CANADA Under One Sky 2249 E. 21 St., Apt. 4F, Brooklyn, NY 11229 URB magazine 1680 North Vine St #1012, Hollywood, CA 90028 213-993-0291 firstname.lastname@example.org
3. Manuel Göttsching
Manuel Göttsching is a German musician and composer. As the leader of the groups Ash Ra Tempel and Ashra in the 1970s and 80s, as well as a solo artist, he is one of the most important guitarists of the Krautrock (also known as Kosmische Musik) genre.
He also participated in the Cosmic Jokers sessions. His style and technique influenced dozens of artists in the post-Eno ambient and Berlin School of electronic music scenes in the 1980s and 1990s.
Göttsching’s solo recorded E2-E4 was released in 1984. The album consists of a minimalistic hour-long progressive electronic track that is subdivided into single tracks according to the stage of the song. The second half of the record is notable for Göttsching's guitar playing. The album is named after the most popular opening chess move 1. e2-e4 (which is expressed in long algebraic notation). A noteworthy pun on E2-E4 exists because the guitar is tuned from E2 (the low string) to E4 (the high string).
The album was named as one of the best 1980s albums for its important role in the development of house and techno music of the late 1980s and early 1990s. The song's repetitions and arpeggiations have influenced house, techno, space disco, balearic and even alternative forms of rock music.