DeForrest Brown, Jr. | |
---|---|
Also known as | Speaker Music |
Origin | Birmingham, Alabama |
Genres | techno, Black music, experimental, avant-garde, noise |
Occupation(s) | cultural theorist, journalist, musician |
Labels | PTP, Planet Mu |
Website | https://speakermusic.bandcamp.com |
DeForrest Brown, Jr. is a writer, music and media theorist, and curator. [1] Brown releases music under his own name as well as by the moniker Speaker Music. [2] Brown is a representative of the Make Techno Black Again campaign. His written work traverses "the links between the Black experience in industrialized labor systems and Black innovation in electronic music." [3] It has appeared in Artforum, Triple Canopy, NPR, CTM Festival, Mixmag, among many others.
His first book, Assembling a Black Counter Culture, was published with Primary Information in 2022. [4] His second book, this simulation sux, was co-written with the statistical analyst and visual designer Ting Ding and published by the small press DOMAIN in the summer of 2024. [5]
Brown was born in 1990 on MacDill Air Force base in Tampa, Florida. His family later moved to Birmingham, Alabama. His father was an educator and a deacon in the Southern Baptist Convention, while his mom was a social worker. [3]
He attended Tuggle Elementary School which was founded by the abolitionist Carrie A. Tuggle in 1903. [1]
His trumpet-playing was influenced by his father, with whom he shared an instructor. His father spent a few days in the same college band as the Afrofuturist icon Sun Ra. [1]
Brown went to the University of North Alabama.
Brown moved to New York in 2013. He worked several bookstore jobs and began to write music criticism. He soon met Ting Ding and Luz Fernandez, who made Make Techno Black Again. At first, M.T.B.A. was a meme and then turned into a life of its own as a campaign in their gender-fluid clothing line, Hecha, and, afterwards, as a trio-collective when Brown created a mix for it.
'Absent Personae' was a collaboration between Liverpool-based sound artist, Kepla (aka Jon Davies), and Brown. It was released in 2017 under New York City’s Purple Tape Pedigree collective. [6]
In 2018, he released a mixtape on PTP called, “The Wages of Being Black Is Death,” which garnered acclaim from Planet Mu, a U.K. label with a roster of prolific Black American producers.
Brown's 2022 book, "Assembling a Black Counter Culture," was released in 2022. The book provides a Black theoretical perspective on techno, setting it apart from its cultural assimilation into predominantly white, European electronic music scenes of the 2000s and 2010s. By referencing Theodore Roszak’s "Making of a Counter Culture," the writings of African American autoworker and political activist James Boggs, and Alvin Toffler’s "Third Wave" "techno rebels," Brown draws parallels between Black electronic music movements and Afrofuturist, speculative, and Afrodiasporic traditions to imagine a world-building sonic fiction and futurity within techno. Inspired by the pioneering work of early legends like The Belleville Three, Underground Resistance's multimedia creations, and Drexciya's mythscience, Brown shows how techno spread from Detroit to other cities worldwide through networks of collaboration, production, and distribution. [7]
On June 21, 2024, Brown and tap dance artist Michael J. Love performed Standpoint (Rhy)pistemology at Amant in Brooklyn, NY. The performance mapped the foundational Black histories of techno and house music onto improvisational and choreographed tap dance.
Release year | Title | Label | Personnel/Notes |
---|---|---|---|
2017 | Absent Personae | PTP | Kepla & DeForrest Brown, Jr. |
2018 | The Wages of Being Black is Death | PTP | Kepla & DeForrest Brown, Jr. |
2019 | of desire, longing | Planet Mu | Speaker Music |
2020 | processing intimacy | Speaker Music | |
2020 | Percussive Therapy | Speaker Music | |
2020 | Black Nationalist Sonic Weaponry | Planet Mu | Speaker Music |
2020 | As Serious As Your Life | PTP | Speaker Music & bookworms |
2020 | a bitter but beautiful struggle | PTP | Speaker Music |
House is a genre of electronic dance music characterized by a repetitive four-on-the-floor beat and a typical tempo of 115–130 beats per minute. It was created by DJs and music producers from Chicago's Black gay underground club culture and evolved slowly in the early/mid 1980s as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat.
A rave is a dance party at a warehouse, club, or other public or private venue, typically featuring performances by DJs playing electronic dance music. The style is most associated with the early 1990s dance music scene when DJs played at illegal events in musical styles dominated by electronic dance music from a wide range of sub-genres, including drum and bass, dubstep, trap, break, happy hardcore, trance, techno, hardcore, house, and alternative dance. Occasionally live musicians have been known to perform at raves, in addition to other types of performance artists such as go-go dancers and fire dancers. The music is amplified with a large, powerful sound reinforcement system, typically with large subwoofers to produce a deep bass sound. The music is often accompanied by laser light shows, projected coloured images, visual effects and fog machines.
Intelligent dance music (IDM) is a style of electronic music originating in the early 1990s, defined by idiosyncratic experimentation rather than specific genre constraints. The music often described with the term originally emerged in the early 1990s from the culture and sound palette of styles of electronic dance music such as ambient techno, acid house, Detroit techno and breakbeat; it has been regarded as better suited to home listening than dancing. Prominent artists in the style include Aphex Twin, Autechre, Squarepusher, μ-Ziq, the Black Dog and the later duo Plaid, as well as earlier acts such as the Future Sound of London and Orbital.
In Jamaican dancehall music, a riddim is the instrumental accompaniment to a song and is synonymous with the rhythm section. Jamaican music genres that use the term consist of the riddim plus the voicing sung by the deejay. A given riddim, if popular, may be used in dozens—or even hundreds—of songs, not only in recordings but also in live performances.
Detroit techno is a type of techno music that generally includes the first techno productions by Detroit-based artists during the 1980s and early 1990s. Prominent Detroit techno artists include Juan Atkins, Eddie Fowlkes, Derrick May, Jeff Mills, Kevin Saunderson, Blake Baxter, Drexciya, Mike Banks, James Pennington and Robert Hood. Artists like Terrence Parker and his lead vocalist, Nicole Gregory, set the tone for Detroit's piano techno house sound.
Glitch is a genre of electronic music that emerged in the 1990s which is distinguished by the deliberate use of glitch-based audio media and other sonic artifacts.
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. The music originally had a clean and minimal production style that was associated with techno from Detroit and the UK.
Electro is a genre of electronic dance music directly influenced by the use of the Roland TR-808 drum machines, with an immediate origin in early hip hop and funk genres. Records in the genre typically feature heavy electronic sounds, usually without vocals; if vocals are present, they are delivered in a deadpan manner, often through electronic distortion such as vocoding and talkboxing. It palpably deviates from its predecessor boogie by being less vocal-oriented and more focused on electronic beats produced by drum machines.
Bouncy techno is a hardcore dance music rave style that developed in the early 1990s from Scotland and Northern England. Described as an accessible gabber-like form, it was popularised by Scottish DJ and music producer Scott Brown under numerous aliases.
Afrofuturism is a cultural aesthetic, philosophy of science, and history that explores the intersection of the African diaspora culture with science and technology. It addresses themes and concerns of the African diaspora through technoculture and speculative fiction, encompassing a range of media and artists with a shared interest in envisioning black futures that stem from Afro-diasporic experiences. While Afrofuturism is most commonly associated with science fiction, it can also encompass other speculative genres such as fantasy, alternate history and magic realism, and can also be found in music.
David Toop is an English musician, author, curator, and emeritus professor. From 2013 to 2021 he was professor of audio culture and improvisation at the London College of Communication. He was a regular contributor to British music magazine The Wire and the British magazine The Face. He was a member of British new wave band The Flying Lizards.
Drexciya was an American electronic music duo from Detroit, Michigan, consisting of James Stinson (1969–2002) and Gerald Donald.
Kuduro is a type of music and dance from Angola. It is characterized as uptempo, energetic, and danceable. Kuduro was developed in Luanda, Angola, in the late 1980s. Producers sampled traditional carnival music like soca and zouk béton from the Caribbean to Angola, techno and accordion playing from Europe and laid this around a fast four-to-the-floor beat.
Gerald Donald is a Detroit techno producer and artist. With James Stinson he formed the afrofuturist techno duo Drexciya, and he is the main member of Dopplereffekt.
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Dub techno is a subgenre of electronic music that originated in the early 1990s, blending the repetitive, minimal structures of techno with the echo-laden, spacey production techniques of dub music. It is notable for its deep, atmospheric soundscapes, layers of elaborate basslines, slowly developing musical phrases featuring heavy delay and reverb effects. Vocals are either absent, or inspired by dub and ambient music.
Gabber is a style of electronic dance music and a subgenre of hardcore techno, as well as the surrounding subculture. The music is more commonly referred to as hardcore, and is characterised by fast beats, distorted and heavy kickdrums, with dark themes and samples. This style was developed in Rotterdam and Amsterdam in the 1990s by producers like Marc Acardipane, Paul Elstak, DJ Rob, and The Prophet, forming record labels such as Rotterdam Records, Mokum Records, Pengo Records and Industrial Strength Records.
A rock band or pop band is a small musical ensemble that performs rock music, pop music, or a related genre. A four-piece band is the most common configuration in rock and pop music. In the early years, the configuration was typically two guitarists, a bassist, and a drummer. Another common formation is a vocalist who does not play an instrument, electric guitarist, bass guitarist, and a drummer. Sometimes, in addition to electric guitars, electric bass, and drums, also a keyboardist plays.
PTP, also known as Purple Tape Pedigree, is an American artist collective and independent record label based in New York City. PTP has been called "New York’s experimental incubator", and the collective has released recordings named among the best in new experimental, hip hop, metal, avant-garde, and electronic music. Pitchfork noted that "PTP's mission seems to be to annihilate genre boundaries and revel in the brilliant debris", and VICE has called PTP "home to some of the most boundary pushing music being made".
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