Mike Mannix: From the birthplace of Techno we got to sit down with the ‘Detroit Techno Militia’. Thank you for talking to us at iconic underground. With a city so steeped in dance music history give us some background on your early influences socially, musically and politically in how it captured and shaped your desires to add to the already hugely influential DJs and producers that have stepped up in Detroit?
Detroit Techno Militia: Detroit and the music that was created in this city had a profound effect on all of us. This is the music we listened to as children. Jeff Mills and the Electrifying Mojo were on the radio, educating and enlightening the masses. They were exposing all different classes and races to music that traditional radio was not playing.
MM: What’s the foundation behind the name ‘Detroit Techno Militia’?
DTM: The name was created because we felt compelled to stand up for the music at a time when “Detroit music” was falling out of fashion. It is both inspiration and independence. We are from Detroit. We love techno. We will not stand for the status quo. Detroit Techno Militia.
MM: With so many members of the crew such as Annix, Confusion, Darkcube, DJ Seoul, Doc, Neil V, T.Linder, DJ Psycho, Loner9, The Mercenary, Dimitri Pike, Maxx T, Shawn Rudiman & Winnettra, how does the collective work and function as a whole?
T.Linder: We are all performers, some are DJs, and others are Live acts. We are also all producers and remixers for Detroit Techno Militia as well as other labels.
DJ Psycho: It works because Angie is smart. It’s not a situation where just anyone can submit a demo and suddenly be in the crew. She looks at the individual powers of each member and calculates how everyone fits. Plus…U have 2 be able 2 hang with Tom, beer in hand.
Dimitri Pike: Well, we’re all friends and we follow what each other is doing. We also have personal projects obviously. But when we reunite let’s say in Detroit or in Berlin, warning, we come to make some serious damages on the dance floors.
DJ Seoul: It runs so smooth. We are all able to see the big picture. That’s why we stick together. The DTM name and mission is so much bigger than any individual in the group and this philosophy works because we all put into it. We all feed off each other and most importantly drive each other to go further and do better. It is by far the best group of people I’ve been around.
Angie Linder: It’s the hardest job that brings me the most joy. I would with a group of fiercely creative people who love what they do, so I feel I owe it to them to do what I can to ensure they have a fulfilling career. I am so proud of each of them, even when they make me pull my hair out sometimes. It’s not all gumdrops and roses, but I wouldn’t change it for anything in the world.
MM: With such heavyweights in the world of techno all based in part in Detroit, who stands out to you individually and who would you like to work with in the studio?
T.Linder: Personally, when it comes to production I really enjoy working on my own. I’ve developed my own process for making a track and I think it might be a little frustrating for other artists to get with my quirky approach to writing and production. But that might just be my personal over-analysis. There are so many great artists here, and I’ve had great experiences working with a handful of them, but I’ve come to realize that I prefer to get some rough ideas together and go back to my own studio to refine the piece on my own.
Dimitri Pike: I’m a long-time supporter of Steve Bicknell from London (UK). His sound is similar to Jeff Mills or Robert Hood but he always manages to keep his very own identity on every drum, sounds, arrangements, he is one I would love to work with in the studio. I’ll add Ukrainian producer / DJ Stanislav Tolkachev, this artist blows my mind with his chirurgical productions.
DJ Seoul: There is definitely a plethora of producers here in Detroit. It makes it exciting. There’s always something new coming out or a project you catch word of. It really keeps you on your toes and makes you work harder. My taste fluctuates often, but right now Brian Kage, Annix, and Chuck Daniels have been pumping out releases that find their way into my record bag.
Confusion: I’ve been blessed to remix T.Linder’s Electro track titled ‘Live Noise’ and would be honoured to create organized noise with any of my DTM family. As far as working with an artist outside of DTM that must be one of the most difficult questions to answer seeing as how the list could go on for days! I guess if I had to pick one it would be The Wizard himself, Mr. Jeff Mills.
Loner.9: Robert Hood
MM: Walk us through the usual process of when you are in the studio creating your new tracks from the analogue outboard, midi, samples and DAW you use and why. What is key in the whole production process for the Label?
T.Linder: For me, I start with a rough idea of what I want and I go from there. I tend to make DJ tools for myself to play within a set rather than a singular stand-alone piece of music. It works best if I have a purpose in mind for the track that I am going to create. I use a really old version of Cubase that I’ve never updated and one of the first incarnations of Audition for edits. I also use a Juno 106, Novation Drum Station, a Micro Korg, and some various distortion and effect stuff. There’s also a trash can in my backyard that has made its way onto a lot of my tracks. I sampled it using a minidisc recorder and a pair of headphones plugged into the mic jack. Like I say, my approach to making a track is a little quirky.
For the label, we tend to go for music with a more aggressive edge than what people traditionally consider “Detroit Techno”, but we’ve done some of the deeper stuff too. Also, we really cherish the legacy of classic Detroit Electro, so we will always push that sound alongside the 4/4 dance-floor material.
Dimitri Pike: I don’t have any “key process”. I might find a synth sound with which an idea comes along… I can go through old recorded sounds and suddenly find something that inspires me. I’m an NI Reaktor user so, quite often, something takes life from experimenting with modules and connections that I may try. My only “key process” is to make tracks that I can play in my DJ sets even if paradoxically I rarely play my own tracks.
DJ Seoul: I use a little of everything. I record all my drum machines and synths through my Apollo rack into Ableton. I then take all those and route them through my filter banks and hardware processors back through the Apollo and back into Ableton. Then I rework all of those into arrangements. I find that this is my best workflow that allows me to come up with more unique and “my own” types of sounds.
Loner.9: I use Maschine now, for production and live performances. I’ll resample my hardware synths, guitar, and guitar pedals and import them into Maschine at Middle C then track the sound across the full range of a keyboard and end up with a different sound than I created with the hardware. I’ll also use Reaktor but I’ll always run it out through guitar pedals and then back into Maschine, noises and all. I love noise!
Annix: Most of my tunes just start from a jam session but sometimes I have an idea in my head going into it. I depend on my arsenal of synthesizers and drum machines for most of my sounds but also use software to arrange and process. Over the years, I have found a purpose for just about everything I have that makes noise and look for ways to use them in creative ways in my tracks.
MM: Tell us about receiving the Detroit Music Awards for “Outstanding Electronic Music Group”.
T.Linder: We won that award both in 2010 and 2016. It’s always great to be recognized for your work, but that’s not really the goal. We’ll always be making and playing music that we love, regardless of any awards or acclaim. I don’t always expect other people to like what we’re doing. If you like it, that’s cool. If you don’t, that’s cool too. It’s definitely not Pop music.
Dimitri Pike: As a Recon 313 (Europe based) member, I’m maybe a little less concerned but I’m proud of any achievements Detroit Techno Militia is gaining since it’s my team, my strongest contact with Detroit, my friends.
DJ Seoul: So sick! Total group effort for so many years gets recognized by our peers in our own city which just so happens to be the greatest city. When I heard the news, I was happiest for Angie. As DJs, we get accolades and recognition often. This was her chance to step into the spotlight to receive the honours and respect that she earned behind the scenes.
Confusion: I have only had the honour of being a DTM member for a little over two years but I’ve known and respected the family for over 11 years and any award, accomplishment, or recognition of hard work and dedication has meant and will always mean the world to me.
Angie Linder: It’s an honour to just be nominated! It’s an award that is voted on by our peers, so we are deeply honoured to be given the award.
MM: Your ground-breaking performance in 2011 on the Made In Detroit Stage at the Detroit Electronic Music Festival caught the attention of international techno DJ Claude Young, who remarked that ‘witnessing the DTM 5×5 was the highlight of the entire weekend’ why do you think this was the case?
T.Linder: I think we were the first people in the Techno genre to do 5 DJs on 5 turntables, all playing vinyl at the same time. It’s totally improvised and controlled chaos. We take a lot of inspiration from the world of Turntablism so we tried applying some of the stuff that groups like the X-Ecutioners were doing with Hip-Hop and adapting it to more of the traditional blending style of Techno. We all really like to push the art of what Techno DJs can do, while still holding on to the traditions that we came up with.
DJ Psycho: I’m still trying 2 understand that one myself…
Dimitri Pike: It’s a unique kind of performance, there is nothing that can compare with this 5×5 in the actual techno scene. This is amazing to see a show but it is as well amazing to hear! And it shows the world that DJing can go way deeper than just playing records one after the other… This is innovation.
DJ Seoul: The 5×5 was crazy! We are always trying to push the craft of DJing to the next level. We have a few acts that feature more than one DJ, but the 5×5 is our biggest adventure. It takes a lot of work but it really is fun. I relate it to a band experience. We were each able to showcase our own talents as well as provide background grooves while the others showcased. It’s not something we can do too often because of our individual schedules, but we haven’t ruled out doing it again.
Loner.9: I’m not a part of the 5 x5 but every time I witness it, I find that it’s the most energetic DJ Performance by anyone hands down. And I mean true energy through music, not hands waving or letting one track build up the audience type of energy, but the energy of every DJ up there working hard as one unit.
Angie Linder: I love watching the guys ebb and flow off each other. It’s both a performance and a friendly competition between them as each new record hits the table.
MM: Back in the day DJs and producers really had to put in some seriously long hours, dedication, patience and money to learn the beautiful art and skills of mixing vinyl and producing original tracks. Now with the advent of sync buttons, constructions kits and templates are today’s electronic DJ’s / Producers at a disadvantage or advantage?
T.Linder: I really don’t pay that much attention anymore to what other artists use. I used to be really outspoken about my disdain for what I considered to be DJs taking the easy route. Not anymore. I got my thing, and they got theirs. I always like to say that our gimmick in DTM is that we don’t have any gimmicks. No one can ever accuse us of being insincere about our craft.
Dimitri Pike: Personally, I never use samples kits, if I was writing books I would not open a random book to copy a page written by someone else. I want my music to be MY music. Except for a remix but it’s another subject. Of course, templates are as well useless to me, I’m very tech savvy when it comes to music gear and software, I create my very own templates or environments for my productions (Touch OSC, Lemur, Reaktor). Now, for DJing, I’m not against the Sync button if the DJ spend the time gained to enhance his selection or his approach to effects and so on… When I play “digital” I use Ableton Live, my tracks are warped and I don’t need to worry about beat matching them, so I focus on effects and selection to make sure I’m never losing time waiting to cue in the next track. I put the same energy into playing vinyl or playing digital files, I just do it differently.
DJ Seoul: The more the merrier. The cream always rises to the top and reaching a critical mass might even trigger an evolution in the music. I really don’t worry about that too much or think it really puts us at a disadvantage. The only way it bothers me is that there is a much higher chance now of seeing bad DJs everywhere I go.
Confusion: Ahhhhhh, the question which has no proper answer. I personally did just that, I spent every spare penny and every spare moment on learning the basics of being a “DJ” and accumulating hardware to produce my own music. I’m a “purist” at heart but I also embrace technology, after all, isn’t what we do music for the future! Speaking of the whole Sync button thing, in my opinion, if a “DJ” is simply mixing two or more tracks together on any format then the said “DJ” should be controlling the BPM of those tracks without the use of a time keeping the base. With a so-called “live PA” performance than using a specific device to control the BPM is almost always necessary. Since 2007 I have used CDJ’s to perform a DJ set due to cost and convenience. I can avoid carrying crates of vinyl and bring music to my gig in the form of CD or Thumb Drive which also allows me to bring a full spectrum of tracks to please/take any crowd on a full journey. For me technology is good.
Loner.9: Both. It can be an advantage in the right hands because they don’t have to worry about some of the technical aspects of performance that some of us older guys had to. They then can be more creative. I’m all about purging creative ideas and if you can do that faster now then it’s all good. But like all technology, if we rely on it solely, it will squash creativity and growth.
MM: Detroit Techno Militia is no strangers to touring internationally especially in Europe, fill us in on the highlights of your six-week long 14 shows, seven different European countries adventure, especially in Belin at Tresor.
T.Linder: Tresor has always been really great to us and it is always an honour to perform there. The connection between Detroit and Berlin is very strong and Tresor has played a very important role in that connection. The sound is always on point there and the crowd is always super-appreciative of what we do. Our aesthetic really translates beautifully into intense cement encased vaults!
As far as touring goes, we’ve had the honour of playing all over the globe to thousands of people who are into the same music I am. There’s a little bit of truth in the old Rock & Roll cliché of “life being tough on the road”, and it can be difficult at times, but it’s honestly the best job in the world. After 20 years of DJing, I’m pretty used to the grind and you won’t ever hear me complaining about touring.
Dimitri Pike: Back in 2003, I played the New Faces party at Tresor Berlin (the first club) and I did it all on my own, I was not even a DTM member, I came back to Tresor with the DTM team (2 times already) and it was even better, the sound system (Void) is awesome! The staff, they are all so cool, so devoted to techno music, Tresor has been there from the very beginning and it’s not too much to say they are “legendary” … It is definitely one if not the best club in the world.
DJ Seoul: Touring for me is by far the highlight of everything. The last 10 years has allowed me to see the entire world. Meeting great people and seeing new cultures is the best, but playing shows from small clubs in Seoul, Korea to massive in Malaga, Spain is totally different. We’ve played so many places and everywhere is different. Our style allows us to stay true to ourselves and not have to adjust too much, but even figuring out the lay of the land (crowd) in each country is fun. Tresor in Berlin is different though. I feel very honoured that we get to play there often. Tom and I usually do the 2×4 set there and they always have us do marathon sets. Between four and eight hours is how long we get to play in our favourite club and the crowd and the sound system rule.
It’s so loud in there 9Tresor) and the atmosphere is made for our kind of techno.
It really is my favourite place to play.
MM: What advice would you give the aspiring DJ today / Producer on how to be creatively original in an already saturated market?
T.Linder: Find something that you are into and stick with it regardless of what is fashionable. Sincerity really shows through and translates into your work.
Dimitri Pike: I’ll say don’t look at adverts from brands. They are there to sell you gear that you don’t really or always need. Of course, everything looks fancy and attractive but go step by step, eventually start with software, it’s not what you own it’s the way you use it. Not everyone needs a 6000/7000 dollars modular system… You don’t need a Roland TR-909 to make great techno. You need ideas, technical knowledge, passion, you need to know how to create with what you own. And
the more you’re limited, the more you come with something.
DJ Seoul: It’s tough to be original in any market, but if you try to block out as much of the bullshit as you can and try to be yourself, you will find the most success. While doing that, practice and more practice might help a little.
Confusion: Do what you want when you want and how you want if you keep in mind that this music and culture is sacred.
Annix: Be yourself and follow what your vision is musical. Surround yourself with people that elevate you and challenge you musically.
Angie Linder: Stay independent. Don’t let anyone else be the master of your destiny. Give back to the scene and lend a helping hand.
MM: Tell us about who’s coming up in the Detroit underground and your views on where you see the underground evolving?
T.Linder: Even though they’ve been around a while there’s a lot of artists who are starting to make some serious noise in Detroit and internationally. Dustin Alexander is really getting out there doing his House/Disco edit thing. Brent Scudder (aka. Mr. 7 Inches) is pushing an all-genre Turntablist sound with a focus on Ghetto Tech. Steve Crawford, a DJ who has been influencing artists for as long as I’ve been into this music, recently got into production and launched his own label: Beaty Boy Records. But they’re just a few of the top of my head.
Dimitri Pike: To me, the exciting things coming up in Detroit right now are from people like Sean Tate, Mollison Folson, they are doing live shows every Sunday on internet “The Bassment”, they help artists to be heard and seen, they record great tracks, they help Detroit to be alive and accessible for everyone on a regular basis. This is real underground. I deeply respect the old names but it’s time to hear fresh and new things.
Angie Linder: Some of my favourite up and coming people in the Detroit Underground: Haz Mat, Mr. 7 Inches, Marshall Applewhite, Mel Wonder and the whole Bassment Crew.
MM: What are the top 10 essential cuts that you are all listening to right now?
T.Linder: Top 10 Essentials (Some old. Some new.)
– Underground Resistance – The Seawolf – World Power Alliance
– Piggy McTiggers – VI: Bessie’s Boy [Mixtape]
– Doc Matthews feat. Winnettra – Illuminaughty – Detroit Techno Militia
– X-Men – Revenge Of The X-Men – Techno Hop
– DJ 3000 feat. Paris The Black Fu – Just Work It – Motech
– DJ T-1000 – Liquid Metal Shapeshifters – Third Ear
– Fix – Flash – KMS
– Di’Jital & Will Web – Androidika EP – Di’Jital Axcess
– Steve Crawford – Rise – Beaty Boy
– Electric Soul – X2 – Direct Beat
Dimitri Pike: Randomly and not particularly new but right now on my iPhone/earphones…
Danny Brown – Detroit State Of Mind 1/2/3/4
Stanislav Tolkachev – Addicted Podcast 10
Everything I have from Jeff Mills
Everything I have from Wu-Tang Clan
Everything I have from N’Dagga
Everything I have from Moodymann
Carl Craig – More Songs About Food and Revolutionary Art
Underground Resistance – Interstellar Fugitives
Everything I have from Jani Ho
My own next coming project “Awakening”
Winnettra: This is my top 10 essential cuts that I am listening to right now from artists that inspire me! These jams are from my public playlist on Napster/Rhapsody called “Detroit Techno, Electro & BEYOND” excluding the DTM members.
Innovators (Detroit Techno) – Inner City
Questions – N-ter
The Jaguar – UR
The Seawolf – UR
Put your hands up for Detroit – N-ter remix
You Must Comply – Detroit in Effect, N-ter, and DJ Godfather
Chemtrails – Digitizer
Blaster – DJ T-1000
Shake it Baby – Mr. De (DJ Assault)
You Have the Right – Scan 7
Loner.9: What I’m listening to now. Changes Constantly
Detroit One Circle – Robert Hood
BlackBird – Chance McDermont
Outside Looking IN – Jay Denham
MKB – Stinkworx
The Bells Sketch – James Blake
Sad Bitch – Arca
Every Reason – (August Alchemy Remix)
All The Critics Love you in New York – Prince
Flash – Green Velvet (The Advent Remix)
Under Sea Disturbances – Drexciya
The Electric Ecstasy Club – Jesus Loves The Acid
Aphex Twin – Window licker (acid edit)
D.H.S. – House Of God (Dave Clarke Remix)
Green Velvet – Preacherman
The Seawolf – World Power Alliance (on repeat)
MM: What drives and motivates you all?
T.Linder: My motivation is exposing new people to the music that I am into, played in a style that they might not have heard before.
DJ Psycho: Music. Period. If it’s not conducive 2 the mission, it’s not worth our time.
Dimitri Pike: Hard to reply! I gave my life to music, I’m that kind of guy passing through the city with earphones always on, as soon as I’m home I’m in the studio and there is always something to work on, to listen as an inspiration, to listen if I need to rework, etc.…
I’m also very into nightlife, I love to play music for people to enjoy, to dance, to forget about daily struggles… In this activity, I try to present them with what is best and I try to play it the best way possible.
DJ Seoul: Being the best at everything I do drives me daily. I am always trying to perfect my craft. Whether it is DJing, producing or even working at my job, I constantly strive to be better. I would say 90% of my motivation is generated internally and 10% of the people around me.
Confusion: Personally, my motivation is hard to explain, it’s primal, its organized noise, which we as Homo Sapiens have done for who knows how many years.
I can find a pattern in a lawnmower motor and find myself bobbing my head. I am Techno.
We all are Techno and I enjoy spreading that mentality.
Loner.9: Simply the music!
Annix: For me, it is just the concept of continuous improvement in making music. I don’t have an end game, just enjoying the journey.
MM: ‘’It’s a battle for the soul of the music” discuss?
T.Linder: People have spoon-fed the type of music that major record labels think they should be hearing. My battle is with that concept. We as humans have the freedom to choose what we like. There are underground alternatives out there. You don’t have to listen to the bullshit that is being marketed to your “demographic”.
Dimitri Pike: It’s definitely a battle! Music is powerful, too many people consider it as an entertainment but music can change minds, it can save a life even…
Music, as we do and love often, comes from pain, life experiences and hard work, it’s an art form and should be respected as it.
It’s not a few sounds put together to decorate some marketing campaigns.
DJ Seoul: Sometimes you got to fight for what you believe in. Fight for what’s right. Too many people take for granted the world around them. We take a stand with our music. We fight to protect its integrity by cherishing the past while embracing the future to come.
MM: What pisses you off the most about the scene / what do you love most about the scene?
Dimitri Pike: What pisses me off is that today everyone is a DJ… Not a good one but… Every idiot with a computer and Traktor can play a list of tracks and say, “I’m a DJ” … They don’t know anything about nightlife, how to drive a dance floor from 10 PM to the early morning or why the DJ culture is so wide and sometimes complex to approach. They never traveled with heavy vinyl bags, they have never been tired (but happy) between two trains or two planes, they don’t know how hard it can be sometimes to deal with club owners to make a living from your passion.
What I love is that even if some DJ’s and producers who can’t access the big festivals or big clubs and make correct money out of it, they continue to play and record great music. They keep the underground alive. They keep experimenting and creating at all costs (Drexciya).
What I love is that Techno is now a global art movement when years ago it was considered a music that would not last and that was pointed at people who do drugs or people considered as marginals.
DJ Seoul: I really don’t spend too much energy thinking about the scenes. By the time I get it figured out, it will have completely changed. I just stay true to me and try to have fun.
Confusion: Ha Ha, well hate is a strong word to use but what I dislike lately is that the Visuals and Lighting have seemed to completely overshadow the artist/music at festivals and even small local shows. What I love is all of it.
Angie Linder: One thing that pisses me off is how some people think they are on a lonely island. We all move forward when we work together. We make it a point to help and work with everyone we possibly can. I also wish artists in Detroit could make a living wage to support their families. We are a city filled with producers and not enough consumers.
MM: What are your biggest stand-out festival/gig moments where you thought ‘fuck this is real this is amazing….’?
T.Linder: When I first played DEMF in 2002 on the Underground Stage. That was a definitive moment for me. I look at my career as “everything before that” and “everything after that”.
Dimitri Pike: So many! So many but to me smaller parties are always the best, you can communicate with your audience through the music and take them somewhere. Also, you often have a longer time slot and so you can play more different kind of techno. For the “big” festivals, Awakenings in the Netherlands is definitely one of the best. Berlin Atonal is also on the top list even if it’s a bit more experimental. And I’ll always remember the “Future” event in Paris, first Techno Parade was 98 or 99… Something like that… Jeff Mills, Richie Hawtin, Sven Vath, Technasia… Crazy night and an important step in France for electronic music.
DJ Seoul: The first time I played DEMF was in 2007. My parents were there and it was the first time they had ever seen me perform. Major highlight. Out of all the rest, the year where we got to highlight the whole crew for 6 hours is my favourite. It was so special to be side by side with everyone on stage at the end. I’ll never forget it.
Confusion: Before I was a DTM and Bang Tech 12 member I threw and or was involved in many local/regional/and international festivals all over the southern states of the USA, but I must say the first OMG and still OMG moments is anytime I’m able to perform alongside my brothers and sisters at the Bang Tech 12 anniversary parties in Detroit!
Annix: The DTM Showcase at Movement 2015 was amazing for me as both an individual performer and for the group of us on stage together.
Angie Linder: Every single time I am standing in Hart Plaza and there is a 4/4 beat playing on the stages. There was a time in Detroit’s techno history where I never thought it would be possible to dance in the open air, legally, with thousands of our friends. Movement (and its past incarnations) will always have a special place in my heart. Charivari & TecTroit are the cream of the crop when it comes to celebrating our local heroes.
MM: What are Detroit Techno Militia next big planned events and projects?
T.Linder: Up next for DJ Seoul and I is a big show in Bogota, Colombia on September 16 as DTM 2×4. I’m really excited because we have the honor of sharing the bill with Jeff Mills, who has always been one of my main inspirations. Other than that, we’ll all be playing shows and making music, business as usual.
Dimitri Pike: The Detroit Artists Agency is soon starting, personally I ‘ll soon release the tracks of my Awakening project, there is as well a digital release of “East Side Bliss” from “Awakening” with remixes from Detroit artists coming later, I would say keep looking at the DTM Facebook page… We come strong and on a regular basis!
DJ Seoul: For me, I have been locking myself in the studio producing a lot of new sounds for a few projects. Besides that, just the normal heavy touring schedule including Colombia, Mexico, most of the EU and Australia so far…
Annix: For me, it will be continuing production and a regular release schedule for the remainder of the year that includes some amazing projects and collaborations in the forefront.
Angie Linder: I am working on finalizing things for the Detroit Artist Agency, which will focus on Detroit artists and Detroit inspired artists. The Detroit Techno Militia 2×4 will continue to tour around the world. We are currently in the planning stages for the Spring 2018 tour. Shawn Rudiman just finished his European tour and is headed to New York this weekend. His touring schedule is set to ramp up in 2018 and he will hopefully be touring full time. Annix is keeping a rigorous release schedule and has a lot of music in the works. Winnettra, our vocalist, has been working with NinnaV in Portugal on a release and has a few more releases in the works with other labels. We are working on more releases for both our digital and vinyl label.
Music is available on detroittechnomilitia.bandcamp.com and on all the major websites like iTunes, Beatport, Juno, etc. The first Thursday of every month, you can catch our live podcast, The Grid, on 313.fm. One of my main focuses will be working as the President of the Detroit-Berlin Connection to help grow the Night Economy and hopefully get better operating hours so that venues in our city can operate 24 hours, legally. It’s a major factor that is holding Detroit back from becoming a major destination for techno tourism.
Interview Page Design Editing – Mike Mannix