Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro instruments are popular.The style resulted from the melding of African American styles such as house, funk, and electro with technopop by artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra.Mojo's show featured electronic music by artists such as Giorgio Moroder, Kraftwerk, Yellow Magic Orchestra and Tangerine Dream, alongside the funk sounds of acts such as Parliament Funkadelic and dance oriented new wave music by bands like Devo and the B-52's.He [Mojo] played all the Parliament and Funkadelic that anybody ever wanted to hear.Mojo used to play a lot of funk just to be different from all the other stations that had gone over to disco.
Locations like local church activity centers, vacant warehouses, offices, and YMCA auditoriums were the early locations where underage crowds gathered and the musical form was nurtured and defined.Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it.As the price of sequencers and synthesizers has dropped, so the experimentation has become more intense.The Electrifying Mojo was the first radio DJ to play music by Atkins, May, and Saunderson.
Mojo refused to follow pre-established radio formats or playlists, and he promoted social and cultural awareness of the African American community.According to a recent bio on My Space, Atkins claims to have "coined the term techno to describe their music, taking as one inspiration the works of Futurist and author Alvin Toffler, from whom he borrowed the terms 'cybotron' and 'metroplex.' Atkins has used the term to describe earlier bands that made heavy use of synthesizers, such as Kraftwerk, although many people would consider Kraftwerk's music and Juan's early music in Cybotron as electro." Atkins viewed Cybotron's "Cosmic Cars" (1982) as unique, Germanic, synthesized funk, but he later heard Afrika Bambaataa's "Planet Rock" (1982) and considered it to be a superior example of the music he envisioned.