In late 1989, on November 2 to be precise, two individuals from Detroit, Michigan, decided it was time for a change: 'Mad' Mike Banks, formerly a bass player for Parliament and producer for a dance music crew called Members of House, and Jeff 'The Wizard' Mills, at the time a DJ on local radio station WJLB, formed a collective henceforth known as the Underground Resistance. Inspired by radical factions of the civil rights movements, such as the Black Panthers, and political hip-hop groups like Public Enemy, UR desired to take social activism to a musical genre previously deemed incapable of conveying political messages: techno.

Where the genre's founding fathers had set their sights on an imagined future, UR opened their eyes to the dystopia of present day Detroit: Abandoned neighbourhoods, urban desolation, still prevailing racism, and cultural hegemony firmly in the hands of a privileged few.

It all started in 2000 when Marc Teissier du Cros, Stephane Elfassi and Air teamed up for the release of 'The Virgin Suicides' soundtrack. Ever since then their romantic and cinematic vision of music has drawn a line through the label's releases and connects all artists, as diverse as they may be.

Record Makers does not confine itself to a single genre - what is more important is the feeling transmitted by the music. The Record Makers experience starts with the artwork and ends at the last bar of music, taking the listener on a trip through memories and emotions.

When electro scientist Arpanet consorts with French troubadour Sébastien Tellier or rave zombie Kavinsky it does not seem so surprising any more, and suddenly all these things seem to be connected. Like soundtracks for certain situations, each and every release represents a piece in a puzzle. Arpanet's first album 'Wireless Internet' stands among the finest productions of the genre as well as Kavinsky's '1986' EP, which according to rumours was recorded in the label's basement.

Back in 1993 Marco Passarani was one of the first European producers to be signed to a techno label from Detroit - alone and together with his then-partner Matteo Monteduro he recorded his first releases for Alan 'DJ T-1000' Oldham's Generator label.

At a time when all eyes and ears on the continent were turned towards the Motor City, his early techno and electro productions earned the young Roman instant recognition. Passarani launched his own creative outlets Nature and Plasmek with releases like his much sought after Saga Pt.1, combining broken beat experimentation with the kind of sophisticated melodic craftsmanship that quickly became his sonic trademark.

Passarani's love for abstract beat construction reached its peak on his 2000 album 6 Katun, again on his own Nature imprint, which offset its harsh rhythmic foundation with almost classical instrumentation. The album became a classic within the then booming electronica/IDM scene, with the track Phonok being licensed to revered British label Skam.