A Quote by Kemp Muhl

I've been waiting for techno to die. I was in Germany once and this guy was telling me that techno was dead, and then he proceeded to play me techno for hours. — © Kemp Muhl
I've been waiting for techno to die. I was in Germany once and this guy was telling me that techno was dead, and then he proceeded to play me techno for hours.
When I heard We Are the World do a techno version of one of my songs, I didn't know the word techno, but I said, "That percussion is astounding, will you help me do a piece?" Nobody said, "Techno isn't allowed for you."
Banging techno grooves from the one and only Ben Sims. Around the time of this was written he had that tribal/funky techno sound that rocked the dancefloor. He was a favorite then and still is now.
The U.S. needs a strong techno brand like Awakenings, just pretty much pure techno.
We got pretty techno on 'Eliminator' and 'Afterburner,' which I enjoyed. I think they're good albums, but we wanted to start using the techno element a little more sparingly.
I'm not attached to a certain scene. There was certain music - and techno was a part of it - that really formulated something for me, that really was a direct connection to what I experienced in my life. Going to parties and listening to techno at home helped form my musical identity. And that changed throughout my life.
I connect with techno way more than house. I find it frustrating people call me a house artist because I think my music in general is more in the tradition of techno. House is celebratory and extroverted. I don't connect with that sentiment.
Let us put it this way, techno-scientific intelligence is presently insufficiently spread among society at large to enable us to interpret the sorts of techno-scientific advances that are taking shape today.
I think, when I wrote 'Children of Jihad,' I wrote it with a very optimistic view of what technology can do. Today I maintain that optimistic view, but I'm also aware of the challenges we have. So I would say I'm not a techno-utopian, but I'm a techno-pragmatist.
I'm not a big disco guy. Some of that English techno-poppy stuff wouldn't get me in the mood either.
Yeah. When I was 14, my Dad had a radio show with really cool people from Ghent, our hometown, in it. The people who started the R&S techno label, they did a show, and a very well known Techno DJ called Frank de Wulf who was from around there, he did a show, and everybody could do what they wanted. They all started up there.
I wrote a techno song after I was deported. I was in America for a little bit, but then I was deported back to Germany. I was very sad.
I want to be commercial, so imagine Disney people mixed with underground techno people... mixed with sass. An example of an underground techno person would be that French artist Yelle. She's all in French, so I can't understand a word she's saying, but her beats are really cool, and that's something that I want to do...but mix Disney in there, and that's what I want.
Me and Dre did all, from Wreckin' Cru to Ruthless, all that. We started making songs first... back then it was the slow songs, techno, whatever they called it back then. 'Planet Rock,' that kinda stuff.
The Dome is a metaphor that could mean anything - it could be nuclear fallout, terrorists - I've always been fascinated with stories where people's roles are flipped on their heads, be it the Wall Street guy, the techno guy, etc. All of those things are only successful when there are people and money around.
I wrote a techno song about the four things I love in Germany to make myself happy, which are my grandfather, my two poodle pets, bread, and a strange but delicious Turkish dish called Doener Kebab.
My policy has always been to play new music. New beat, industrial, techno, disco, funk, rare groove and house music.
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