Rhythim is Rhythim - It Is What It Is (Original 12' Mix)
#100GREATESTELECTRONICAOFALLTIME-CHAPTER26
My apologies for the extended break to all those that have been invested in this unique and tremendously convoluted and time consuming to compile audacious series. Clicking on the hashtag will redirect you to the repository of all previous 25 tracks that have been painfully and pragmatically selected from my own library that is in the hundreds of thousands and promoted to recognition as a select 100 all time greats in the broad Electronica spectrum. The criteria for evaliation of shortlisted inductees is diverse and not exclusively based on record sales or the magnitude of impact of early genre pionerring records. As the series progresses, numerous contemporary records, post 2000, cureently under adjudication, may populate the elite 100 wirh aequate justification provided to elucidate an objective as opposed to subjective decision making process.
Chapter 26 takes us to the central theme of this channel and I presume, the genre that aspired you to follow this channel. Techno evolved in 1981 in Detroit. Check out the review of Cybotron's 'Cosmic Raindance' for a detailed exposition. Derrick May, a close friend of Juan Adkins, established Transmat Records in 1986. 'Transmat' being adopted from an early Juan Adkins Metroplex records release 'Time Space Transmat'. Derrick developed an acoustic signature that was very different from Juan's various psedonyms. 'Strings Of Life' the legendary anthem that engulfed nusic lovers worldwide, essentially gave Techno a global identity, Staunch house music advocates, who either dismissed Techno as a singular original concept or mocked its exitance as a derivative or 'bastard child' of house musiv. The masterful 'It is What it is' took percussion to another level when compared to 'Strings Of Life'. "It Is What It Is" is a masterclass in minimalism meeting emotion—Derrick May’s signature. Built on a Roland TR-909 backbone, it’s a hypnotic groove machine:
Kick: Deep, punchy 909 kick (tuned ~40-50Hz), driving the 126 BPM pulse. It’s not overcompressed—retains a live, organic thump.
Hi-Hats/Snares: Crisp, staccato hats and a snare with a sharp transient (~200Hz snap). Layered rhythms syncopate subtly, giving that Detroit swing—tactile as hell.
Bassline: A warm, subby synth bass (~60-80Hz), weaving under the kick. It’s restrained yet funky—classic May restraint, avoiding mud.
Strings: The star—those soaring, melancholic synth strings (likely a Roland Juno or Yamaha DX7). They enter around 1:20, panning wide, shifting from minor to hopeful chords. Textured, slightly detuned, and emotive—pure Detroit soul.
Percussion: Sparse congas and claps add groove without clutter—every hit lands with purpose.
Structure’s loose but deliberate—intro builds tension with kicks and hats, strings drop for emotional heft, then it rolls into a meditative loop. No gimmicks, just vibe. For your reviews, you’d note the balance: raw machine energy meets human feeling, a techno blueprint.
Soundstage & Dynamics
Stage: Wide for 1988—strings stretch the stereo field, panning left-right with a deep center (kick/bass). Not holographic (mixing tech limits), but spacious enough to feel immersive. On Mojo 2 + Synthesis + Punch, the width would breathe—Meteor might add depth to the strings.
Dynamics: Punchy but not peak-limited—headroom lets the kick slam and strings soar. DR meter might hit ~10-12, rare for early techno. Synthesis’ copper warmth would amplify this, restoring low-end impact Eros S II flattened.
Tonal Character
Low-End: Warm, authoritative—kick and bass lock in without bleeding.
Artist: Rhythim Is Rhythim
Release: It Is What It Is
Label: Transmat – MS 6
Format: Vinyl, 12", 45 RPM, 33 ⅓ RPM
Country: US
Released: 1988
Genre: Techno