Welcome to 909rewind, a series from 909originals that explores the early musical careers of some of clubland’s biggest names, uncovering hidden gems and familiar classics from the archives.
Earlier this month marked the 50th birthday of one of the most pioneering names in techno, whose sonic experiments under his F.U.S.E. and Plastikman monikers helped establish what is now a 30-year career at the forefront of electronic music.
As you might have guessed by now, this latest instalment of 909rewind showcases the work of one Richie Hawtin.
The year 1990 saw the young Canadian artist (who was actually born in Britain) establish Plus8 Records alongside longtime sparring partner John Acquaviva, and the imprint quickly became synonymous with techno’s ‘second wave’.
Hawtin, whether recording under his own pseudonyms or as a member of States of Mind (alongside Acquaviva) or Cybersonik (with Acquaviva and Daniel Bell) became one of the most prolific artists on the label, setting the scene for arguably his most infamous electronic creation, Plastikman.
Taking minimal to captivating new levels, Hawtin’s early 90s output as Plastikman included the seminal Sheet One (with its notorious ‘perforated’ acid cover) and Recycled Plastik, as well as powerful singles such as Plastique, Krakpot and Spastik; the latter boasting one of the greatest crescendos in techno history.
Receiving an honorary doctorate for music technology at the University of Huddersfield back in 2015, Hawtin summed up the importance of electronic music in shaping both his career and the world around us.
“At its core, technology based music is driven by the constant innovation and development of technology,” he said. “It is my belief that this is what will forever keep us feeling challenged, excited and inspired for what lies just around the corner.”
For our 25th edition of 909rewind, we present a three-hour trip through Hawtin’s formative years, with a series of choice tracks and remixes from between 1990 and 1993 – make sure and listen out for an oft-forgotten reworking of an old The Shamen classic… 🙂