![]() ![]() So, almost from the beginning, it was a full blown studio and we could get to work right away.” JEFF MILLS GEAR HOW TOBy that time, from the radio, I taught myself how to use music conceptually, so when we merged together we both had many ideas to discuss. I had lots of experience with sound recording techniques, editing equipment and a basic knowledge about record manufacturing, distribution and licensing, etc. “We didn’t exactly start from zero, Mike had been with his band for quite a while and had a long experience with live performance and working with many established artists and lots of keyboards. He told me that he had concept of band called Underground Resistance and asked if I would be interested in forming it with him. When I left Final Cut, Mike and I stayed in contact. While working on the music for Final Cut, I used to borrow Mike’s keyboards (he had many) and he would sometimes listen to what Tony and I were doing. She asked if I could go by a recording studio and meet them to listen to what they were working on at the time. JM: “While in Final Cut, I met Mike Banks and his then band, Members Of The House, through a colleague at the radio station WJLB. Their towering contribution to music and culture simply cannot be overstated. UR of course distilled disparate influences – Motown soul, acid, electro, industrial – into a heady cocktail of hi-tech funk, served up with plenty of oppositional rhetoric. Having jumped the increasingly rockist Final Cut ship, Mills donned a ski-mask to co-found Underground Resistance. I wanted to stay focused on dance music.” After this trip, I decided to leave the band because the satanic thrash rock direction Srock wanted to go in wasn’t something I care too much for. We met many people there that I quickly became good friends with. “Through this band, we were invited to Berlin in 1989 to be in a New Music Festival given by Interfisch Records (now known as Tresor Records). The Detroit techno scene was rising and we wanted to create a unit that was the medium between the two styles. We were inspired by bands like Consolidated, Nitzer Ebb, Front 242, Ministry, Greater Than One, etc. We got together and formed a band called Final Cut. Many people were listening to things they weren’t supposed to. This was a time in Detroit when the lines between industrial dance and techno were blurred. Jeff Mills: “I’m not quite sure how I first met Tony Srock (it was too long ago), but we decided to put together a industrial/techno band. The collaboration didn’t last long, but long enough to yield Deep In 2 The Cut – a unique, criminally little-known LP of raw, seedy and house-inflected EBM. Incredible music produced by Mills and Anthony Srock in ’89, born out of their love for European industrial sounds. Technology will makes many things possible, but re-calibrating the human mind is something more complex and the education needs to start now.” “Our future will consist of struggling to understand the unbelievable. ![]() “I believe that our future won’t be here on Earth, but out there, in Space,” he opines. To those of you who’ve yet to fully acquaint yourself with the master, this is your indispensable route in.įACT asked Jeff Mills to guide us through the highlights of his peerless catalogue, commenting on each landmark release that we’ve selected, adding insight to the creation and influence of the recordings. To those of you familiar with Mills’ work, this selection of classics will simply jog your memory and prompt you to fish out those prized, well-worn Axis and Purpose Maker 12″s from the depths of your collection. Hail Jeff Mills: techno’s greatest ambassador, techno’s greatest believer, and arguably techno’s greatest innovator.Īs both DJ and composer, Detroit’s Jeff Mills revolutionised electronic music over the course of the 1990s. ![]()
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