techno
Techno is a type of electronic dance music played on synthesizers and drum machines featuring often dark menacing robotic-sounding melodies with squelchy synth and deep bass lines set to a four on the floor beat.
In 1980's Detroit, the Belleville three, first Juan Atkins (Cybotron, Model 500) and later his friends Derrick May (Rhythim is Rhythim) and Kevin Saunderson (Inner City, Reese) began experimenting with synthesizers to create electronic dance music. Read Full BioTechno is a type of electronic dance music played on synthesizers and drum machines featuring often dark menacing robotic-sounding melodies with squelchy synth and deep bass lines set to a four on the floor beat.
In 1980's Detroit, the Belleville three, first Juan Atkins (Cybotron, Model 500) and later his friends Derrick May (Rhythim is Rhythim) and Kevin Saunderson (Inner City, Reese) began experimenting with synthesizers to create electronic dance music. Derrick May described it as sounding like George Clinton (of Parliament and Funkadelic) and Kraftwerk stuck in an elevator. Atkins' early tracks were akin to the emerging electro of Hashim, Herbie Hancock and Man Parrish, and also shared an emphasis on drums found in the freestyle of Freeez, Shannon and Paul Hardcastle combined with the deep bass and danceability of British new wave synthpop (eg. New Order, Simple Minds, Pete Shelley) and the spacey sound of italo disco (eg. Rizo Ortolani, Laser, Charlie). There was also a lot of crosspollination between Detroit techno artists and Chicago house artists particularly noticeable in Saunderson's work with Inner City. Chicago acid house by Steve "Silk" Hurley and Lil' Louis sounds particularly close to techno. In 1988, Atkins, May and Saunderson released a compilation album, 'Techno! The New Dance Sound of Detroit.'
The word or prefix 'techno' had been used by or about the Techno Twins (1977), Kraftwerk (1978 in Japan's 'Rock Magazine'), Yellow Magic Orchestra (1979 single Technopolis), but Detroit Techno had a darker sound with more bass, and was often played at a faster more 'danceable' tempo. Skinny Puppy is another early band that had been described as 'techno' (e.g. in Billboard 1985), but they were perhaps closer to the ebm of Front 242. In the early 1980's, the Sheffield band Cabaret Voltaire went electronic, and moved into a funkier direction, and came to be classified as techno. In Saunderson's Reese band, he was influenced by and influenced Belgian new beat (eg. A Split Second, 101).
When British bands such as The KLF and Psychic TV were formed in the mid-1980's, they took 'techno' in a psychedelic direction, and along with acid house, it began to be played at rave parties, impromptu dance events held in abandoned warehouses or outdoors. Techno-influenced west European bands began to score major hits in the late 1980's early 1990's (eg. Snap!, Technotronic, 2 Unlimited) and came to dominate club music for a time. In 1990, The KLF released "What time is love? Live at Trancentral" sparking a spate of releases with crowd noise. In 1991, Second Phase released "Mentasm" leading to the increasing use of the Hoover sound effect in rave/techno releases. Breakbeat, chillout, hardcore, trance and trip hop developed within the techno rave scene, and eventually split off as separate genres. The popularity of techno faded somewhat after 2000 (supplanted to some extent by house and trance), but minimal techno continues to be produced. Gabber and happy hardcore developed out of hardcore techno. Big beat bands such as The Chemical Brothers, The Crystal Method, The Prodigy are also commonly classified as techno. Rave techno is still an influence on electro house artists such as Benny Benassi, Bingo Players, Dimitri Vegas & Like Mike, Global Deejays, Krewella and Vitalic.
This style of music uses loop-sequencing and turntables. Though often strongly mixing melodies and heavy bass lines, techno music relies on pulsing rhythms. Techno songs rely on heavy syncopation. Most songs are in 4/4 time and feature time marked with bass drums on the quarter note and hi-hats every second eighth note.
In 1980's Detroit, the Belleville three, first Juan Atkins (Cybotron, Model 500) and later his friends Derrick May (Rhythim is Rhythim) and Kevin Saunderson (Inner City, Reese) began experimenting with synthesizers to create electronic dance music. Read Full BioTechno is a type of electronic dance music played on synthesizers and drum machines featuring often dark menacing robotic-sounding melodies with squelchy synth and deep bass lines set to a four on the floor beat.
In 1980's Detroit, the Belleville three, first Juan Atkins (Cybotron, Model 500) and later his friends Derrick May (Rhythim is Rhythim) and Kevin Saunderson (Inner City, Reese) began experimenting with synthesizers to create electronic dance music. Derrick May described it as sounding like George Clinton (of Parliament and Funkadelic) and Kraftwerk stuck in an elevator. Atkins' early tracks were akin to the emerging electro of Hashim, Herbie Hancock and Man Parrish, and also shared an emphasis on drums found in the freestyle of Freeez, Shannon and Paul Hardcastle combined with the deep bass and danceability of British new wave synthpop (eg. New Order, Simple Minds, Pete Shelley) and the spacey sound of italo disco (eg. Rizo Ortolani, Laser, Charlie). There was also a lot of crosspollination between Detroit techno artists and Chicago house artists particularly noticeable in Saunderson's work with Inner City. Chicago acid house by Steve "Silk" Hurley and Lil' Louis sounds particularly close to techno. In 1988, Atkins, May and Saunderson released a compilation album, 'Techno! The New Dance Sound of Detroit.'
The word or prefix 'techno' had been used by or about the Techno Twins (1977), Kraftwerk (1978 in Japan's 'Rock Magazine'), Yellow Magic Orchestra (1979 single Technopolis), but Detroit Techno had a darker sound with more bass, and was often played at a faster more 'danceable' tempo. Skinny Puppy is another early band that had been described as 'techno' (e.g. in Billboard 1985), but they were perhaps closer to the ebm of Front 242. In the early 1980's, the Sheffield band Cabaret Voltaire went electronic, and moved into a funkier direction, and came to be classified as techno. In Saunderson's Reese band, he was influenced by and influenced Belgian new beat (eg. A Split Second, 101).
When British bands such as The KLF and Psychic TV were formed in the mid-1980's, they took 'techno' in a psychedelic direction, and along with acid house, it began to be played at rave parties, impromptu dance events held in abandoned warehouses or outdoors. Techno-influenced west European bands began to score major hits in the late 1980's early 1990's (eg. Snap!, Technotronic, 2 Unlimited) and came to dominate club music for a time. In 1990, The KLF released "What time is love? Live at Trancentral" sparking a spate of releases with crowd noise. In 1991, Second Phase released "Mentasm" leading to the increasing use of the Hoover sound effect in rave/techno releases. Breakbeat, chillout, hardcore, trance and trip hop developed within the techno rave scene, and eventually split off as separate genres. The popularity of techno faded somewhat after 2000 (supplanted to some extent by house and trance), but minimal techno continues to be produced. Gabber and happy hardcore developed out of hardcore techno. Big beat bands such as The Chemical Brothers, The Crystal Method, The Prodigy are also commonly classified as techno. Rave techno is still an influence on electro house artists such as Benny Benassi, Bingo Players, Dimitri Vegas & Like Mike, Global Deejays, Krewella and Vitalic.
This style of music uses loop-sequencing and turntables. Though often strongly mixing melodies and heavy bass lines, techno music relies on pulsing rhythms. Techno songs rely on heavy syncopation. Most songs are in 4/4 time and feature time marked with bass drums on the quarter note and hi-hats every second eighth note.
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One More Time
Daft Punk Lyrics
One more time
One more time
One more time, we're gonna celebrate
Oh yeah, alright, don't stop the dancing
One more time, we're gonna celebrate
Oh yeah, alright, don't stop the dancing
One more time, we're gonna celebrate
Oh yeah, alright, don't stop the dancing
One more time, we're gonna celebrate
Oh yeah
One more time
One more time, we're gonna celebrate
Oh yeah, alright, don't stop the dancing
One more time, we're gonna celebrate
Oh yeah, don't stop the dancing
One more time, mmm
You know I'm just feelin'
Celebration
Tonight
Celebrate
Don't wait too late, mmm, no
We don't stop, you can't stop
We're gonna celebrate
One more time
One more time
One more time, a celebration
You know we're gonna do it right
Tonight, hey, just feeling
Music's got me feeling the need
Need, yeah
Come on, alright
We're gonna celebrate
One more time
Celebrate and dance so free
Music's got me feeling so free
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
One more time
Music's got me feeling so free
We're gonna celebrate
Celebrate and dance so free
Lyrics © BMG Rights Management, Universal Music Publishing Group, REACH MUSIC PUBLISHING, O/B/O CAPASSO, Warner Chappell Music, Inc.
Written by: Anthony Wayne Moore, Thomas Bangalter, Guy Manuel
Lyrics Licensed & Provided by LyricFind
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Anonymous
One - Alita Moses - Lyrics I can't remember anything Can't tell if this is true or a dream Deep down inside I feel to scream This terrible silence stops me Now that the war is through with me I'm waking up, I cannot see That there's not much left of me Nothing is real but pain now Hold my breath as I wish for death Oh please, God, wake me Back in the womb it's much too real In pumps life that I must feel But can't look forward to reveal Look to the time when I'll live Fed through the tube that sticks in me Just like a wartime novelty Tied to machines that make me be Cut this life off from me Hold my breath as I wish for death Oh please, God, wake me Musical Interlude Now the world is gone, I'm just one Oh God, help me Hold my breath as I wish for death Oh please, God, help me Darkness imprisoning me
GamingLonk03
This song played at the prom, and everyone started dancing to it. It was pure awesome to watch. I want it to happen again, one more time…
Alvin de Alvin y las ardillas
13 AÑOS DESPUÉS Y SIGUE SIENDO MI N°1 EN MI SPOTIFY
Ali Cossing
Un grande alvin one more timeeee😍😍😍😍
maloyy
@TV64 usted
TV64
@maloyy ñ
TV64
@Murilo Santos ñ'??¡¡¡¡
JM
esta cancion es del 2000. han pasado 23 anyos. pero el video de youtube tiene 13 anyos. sigue siendo un banger despues de todos estos anos. y btw amaba a alvin and the chipmunks cuando era niño jajaja
AngelKitsune95
I was a child 5 years old when this masterpiece is launched. Now i am adult and this song still unique,lovely and i will listen forever.
ONE MORE TIME
Ps:i am a girl.
P. S.
I was 21...