Originally published on metropolis.co.jp on May 2011

Courtesy of Eleven

Twenty years is a long time for a dance music label. Thinking about all the genres from the good to the bad (late ’90s progressive house or trance, anyone?) that have come and gone puts things into perspective. The trick to a successful track record is to shun the trend of the moment and concentrate on your own thing.

Planet E, Carl Craig’s label, is a glowing example of how to achieve longevity and not simply lurk in the shadows; rather, it has amassed an archive jammed with seminal releases. Craig arrives in Nishi-Azabu next weekend to celebrate Planet E’s 20th birthday with Japan’s unyielding techno faithful—and no doubt spin a few classics.

For some unknown reason, techno artists from Detroit are always categorized like they belong to one big family tree—despite the fact that most of them are unrelated. Carl Craig is from the second generation, which follows on from originators Kevin Saunderson, Derrick May and Juan Atkins (the “Belleville Three”). They took house music and fused it with elements borrowed from pop innovators Prince, George Clinton et al. The result: a thumping sci-fi dance beat.

In hindsight, techno could only have come from Detroit: the city with all its hopes pinned on a crumbling automobile production line–shattered futurism personified. Planet E’s biggest contributions to techno include pushing the primitive early sound forward by incorporating world rhythms and jazz (notably, using Detroit musicians), and founding the Detroit Electronic Music Festival. Meanwhile, Carl Craig turned the humble remix into a wondrous art, almost winning a Grammy in the process for a reworking of Junior Boys’ “Like a Child.”

With a roster that includes Moodyman, Kenny Larkin and Alton Miller, Planet E has too many landmark releases to list. But in the label’s new school, the talented Recloose’s funky and soulful productions have taken things in a fresh direction. That the upcoming shenanigans will take place at Tokyo’s most storied techno Mecca, Eleven, will add to the occasion…

Or, you could stay at home and with the money saved buy Korg’s new gadget, the Monotribe. It’s the sickest and most affordable piece of analog gear that’s been released in ages. Its handheld size is a middle finger to those who denounce the “old way” as too cumbersome. It’s a drum machine, about the same width and height as an iPad (albeit a lot thicker), but much cooler looking—in a retro way, of course.

The Korg Monotribe’s built in-speakers, battery operation, three-part drums, finger keyboard, rotary oscillators and filters, and ability to hook up with other units for collaborative performances are its main features. But if all that sounds a bit too technical, check the clips.

Analog 4 Eva! Just don’t expect it to be as easy at it looks…

• May 14 @Eleven. From 10pm, ¥4,000 w/1d. Nishi-Azabu. http://go-to-eleven.com
• Korg Monotribe, ¥21,000. Release scheduled for end May; no official date confirmed.

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