The title 'First Lady Of Detroit' isn't exactly one hard fought-over. Bar a few last minute surprises from the top-secret line-up of Drexciya and the odd Direct Beat electro outfit, Detroit, like the techno scene as a whole, is a male dominated affair.
Which makes Kelli Hand all the more important, even simply as a symbol for her gender. As an artist, however, it'd be safe to say she'd probably prefer to be judged on her music alone. With such a fine album under her belt, she's a symbol for techno, period.
Detroit History Part 1 is a wonderfully diverse and inviting album. There's no understanding of complex Millsian abstraction or space-jazz theories required. It starts with the gentle and soothing 'Rain-Interlude' - and then jacks.
'Demf Anthem' might be edgy Mills-funk, but as a tribute to last year's triumphant milestone techno celebrations - the Detroit Electronic Music Festival - it's both rousing and symbolic.
The diversity here startles and pleases: 'Noon (midnight mix)' is half broken beat half club stormer. Ms Hand is also keen on her basslines, with 'Bongos' rocking it on a percussion level too. 'Riverfront' even descends into breakbeat territory.
But the real gem here, drawing heavily from the 'History' the album's title suggests, is 'CPOP.' It's an afro percussive affair, a bassline-lead groover that drops into a divine old school piano riff, not a million miles from one 'Strings Of Life.' Given the right push, it'd 'do a Jaguar.' G'wan girl, work it!
