Label Feature: Juan Atkins - Metroplex
Click here to listen to the Carhartt WIP Radio Show featuring Juan Atkins.
Few names carry the same weight in electronic music as Juan Atkins. Widely heralded as one of the “founding fathers” of techno, Atkins’ visionary work has helped to define, expand, and evolve the genre for over four decades. Central to his legacy is Metroplex records, the independent record label he founded in 1985. It gave birth to some of the most groundbreaking electronic tracks ever produced, and established Detroit as the nerve centre of global techno culture. As Metroplex celebrates its 40th anniversary, Carhartt WIP Radio welcomes Juan Atkins with a mix that celebrates his label and its futuristic intentions.
When Atkins launched Metroplex, he needed a platform for his first solo release, the seminal No UFOs, produced under the alias Model 500. Released in 1985, it became a global sensation, hinting at the idea that Atkins had tapped into something bigger. The demand and enthusiasm for his new sound saw the label continue to evolve, becoming a hub for electronic innovation, while providing a platform for a string of iconic releases, under his Model 500 moniker as well as Infiniti.
The spirit of Atkins’ work is defined by a constant desire to keep pushing forward. This reflects an understanding that techno, like technology itself, must continue to evolve or risk becoming stagnant. This commitment to sonic exploration remains present in Atkins’ work today. For Carhartt WIP Radio, the Detroit legend marks Metroplex’s anniversary with a mix that underlines its futuristic ethos, with tracks by Atkins himself, his daughter Milan Ariel, and producers such as Robert Hood and Bas Grossfeldt.
As ever, we also sat down with this month’s host, as he reflected on 40 years of Metroplex and how one marks such an occasion - before turning our attention to the future, naturally.
Metroplex is 40 years old, what does this milestone mean to you personally?
Juan Atkins: Well, unless we know how fast time flies, especially when you're having fun, it personally means wisdom, gracefulness and knowledge. 40 years of experience with an independent record label says a lot.
When you first started Metroplex in 1985, did you envision it lasting this long and having such a global impact?
Juan Atkins: Not at all. I started the label to release my first solo record after I left Cybotron, because I had shot my music around, and nobody understood it. I couldn’t get a deal with any major company, so I decided to just do a new label. Just like how we released Cybotron on Deep Space Records, which was a label that Rick Davis and I started. I thought, ‘Why not doing the same thing?’ I had no idea that it would be a fully-fledged label for 40 years. But the first record I released was Model 500 “No UFOs,” which gained so much in popularity that there was no reason to kill it.
Many artists have been influenced by Metroplex over the years. Are there any newer producers or labels that you feel are carrying the torch today?
Juan Atkins: There are a lot of new artists. We’re constantly trying to develop and find new artists out of Detroit, one of which is Augustus Williams. Another is Milan Ariel, my daughter, who now runs Metroplex as well. Also: Terence Dixon, who is one of our newest artists, but has been around for a few years.
If you had to pick one Metroplex release that best defines the label's essence, which one would it be?
Juan Atkins: That’s kind of a hard question, but also an easy question. My first three releases, I think, typify what Metroplex is: the “No UFOs” EP, with the track Future on the B side; the Night Drive (Thru-Babylon) EP with the No UFO’s D-Mix - that was supposed to be a Cybotron track, but I left the group and took it with me. It was mostly my production anyway; I just released it as Model 500. And finally, the track Night Drive (Thru-Babylon) probably best typifies the label. But as the years go by, I’d also pick out a track like Starlight, Robert Hood as The Vision with Detroit: One Circle, or the Infiniti tune Game One from 1994.
How are you planning to celebrate the 40th anniversary of Metroplex?
Juan Atkins: We're planning showcases in Detroit and internationally, mainly Berlin. During this year’s Movement festival, we’ll do a Model 500 live performance out of our Metroplex warehouse space.
What do you hope the next generation takes away from Metroplex’s legacy?
Juan Atkins: That it is a groundbreaking, iconic label for the advancement of music via electronic or techno.
You’ve worked under several aliases - Cybotron, Model 500, Infiniti - each of which has a distinct sound. Is there one persona you feel most connected to today?
Juan Atkins: No, I don't really have a favourite. When I'm doing Cybotron, I'm doing Cybotron. When I'm doing Model 500, I'm doing Model 500. I’m wrapped up, focused. I'm really connected to everything. We only have 24 hours in a day, so there's only so much time that can be allocated - I can't do everything at once. So, there’s a time for Cybotron, a time for Model 500, a time for Infinity, etc.
Are there any new solo projects or collaborations you're currently working on?
Juan Atkins: I have a new Model 500 release coming out called I.D.L.E.. I guess you could call that solo. Also, there’s some new material with my daughter that will be released. “The Future is Here,” in particular. It’s a track she wrote, and I just kind of mixed it. Then there’s a Kraftwerk remix on Home Computer that I'm supposed to do. I haven’t gotten around to it yet - but only because I don't want to touch it unless I can give it the maximum possible.
You’ve always been ahead of the curve sonically, are there any new technologies or production techniques you’re excited about right now?
Juan Atkins: Well, I am experimenting with AI lately, and I've done some things that you'll see coming up on a new Cybotron album called “12.” So, our next release will have a lot of vocal AI.
Do you have any dream collaborations with contemporary, either within techno or further afield?
Juan Atkins: Right now, I’m just concentrating on the Cybotron album. I’m mainly working with Moritz von Oswald for this album, and DJ Maaco. There might be a possibility that I have Rick Davis from the original Cybotron outfit on some stuff. Other than that, collaborations are not off the table, but nothing comes to mind at the moment - aside from working with my daughter.
How do you feel about the current state of techno music? Is the underground spirit of the genre still alive?
Juan Atkins: Yeah, I think so. I think there’s an undercurrent that's still there. Technology has made it possible for a lot more people to make music, who maybe shouldn’t be making music. But by the same token, there are new, fresh ideas that come along with - I guess what you would call ‘good mistakes.’ So, I think the genre is still alive. I mean, techno is technology. We’re going forward. There is no way back. Okay.
What advice would you give to young producers trying to make an impact today?
Juan Atkins: Don't be afraid to take risks or chances. I’ll give you an example: When we released Alleys of Your Mind in 1981, we were still at the end of the funk-disco era. And someone told me, ‘Man, you had a lot of courage to put that record out.’ So, this is what I would say to young producers: Don't be afraid to be innovative. Be a leader.
Looking ahead, what do you see as the next big evolution in techno music?
Juan Atkins: AI, for sure.
