Editing Detroit techno (section)

==Second wave==
The first wave of Detroit techno had peaked in 1988–89, with the popularity of artists like Derrick May, Kevin Saunderson, Blake Baxter, and Chez Damier, and clubs like [[Saint Andrew's Hall (Detroit)|St. Andrews Hall]], [[Majestic Theatre (Detroit, Michigan)|Majestic Theater]], [[The Shelter (Detroit, Michigan)|The Shelter]], and the Music Institute. At the same time, Detroit techno benefited from the growth of the European [[rave]] scene and various licensing deals with labels in the UK, including Kool Kat Records. By 1989 May's ''Strings of Life'' had achieved "anthemic" status.<ref>Reynolds, p. 219</ref> several years after its recording.

By the early 1990s, a second wave of Detroit artists started to break through, including, among others, [[Carl Craig]], [[Underground Resistance]] (featuring [[Mike Banks (musician)|Mike Banks]], [[Jeff Mills]], and [[Robert Hood]]), [[Blake Baxter]], Jay Denham, and [[Octave One]].<ref>{{cite web |title=365mag.com |url=http://www.365mag.com/index.php?pg=spec&recnum=679&Title=365Mag+Interview%3A+Octave+One+on+365Mag+International+Music+Magazine |website=365mag.com |access-date=29 December 2024 |archive-url=https://web.archive.org/web/20090209154424/http://www.365mag.com/index.php?pg=spec&recnum=679&Title=365Mag+Interview%3A+Octave+One+on+365Mag+International+Music+Magazine |archive-date=9 February 2009 |language=en |url-status=usurped}}</ref> According to music journalist [[Simon Reynolds]], in the same period what began as a Europhile fantasy of elegance and refinement was, ironically, transformed by British and European producers into a "vulgar uproar for E'd-up mobs: anthemic, cheesily sentimental, unabashedly drug-crazed."<ref>Reynolds, Simon Reynolds, "Generation Ecstasy." pg.114.</ref> Detroit embraced this maximalism and created its own variant of acid house and techno. The result was a harsh Detroit hardcore full of riffs and industrial bleakness. Two major labels of this sound were Underground Resistance and [[+8]], both of which mixed 1980s electro, UK synth-pop and industrial paralleling the brutalism of rave music of Europe.{{citation needed|date=June 2020}}

Underground Resistance's music embodied a kind of abstract militancy by presenting themselves as a paramilitary group fighting against commercial mainstream entertainment industry who they called "the programmers" in their tracks such as ''Predator'', ''Elimination'', ''Riot'' or ''Death Star''. Similarly, the label [[+8]] was formed by [[Richie Hawtin]] and [[John Acquaviva]] which evolved from industrial hardcore to a minimalist progressive techno sound. As friendly rivals to Underground Resistance, +8 pushed up the speed of their songs faster and fiercer in tracks like ''Vortex''.

On Memorial Day weekend of 2000, electronic music fans from around the globe made a pilgrimage to [[Hart Plaza]] on the banks of the [[Detroit River]] and experienced the first [[Detroit Electronic Music Festival]]. In 2003, the festival management changed the name to Movement, then Fuse-In (2005), and most recently, Movement: Detroit's Electronic Music Festival (2007). The festival is a showcase for DJs and performers across all genres of electronic music, takes course over a period of three days, and is considered to be the best underground electronic music festival in the United States.{{citation needed|date=June 2022}} There are also many events outside of the festival, including the largest afterparties at the [[Detroit Masonic Temple]] and another popular party at The Old Miami with a surprise line-up. Inter dimensional Transmissions also throws No Way Back yearly with a heavy rotation of resident/international artist.