Backwards Looking Forwards is a monthly radio program dedicated to exploring the interconnected histories of global dance music. Host Danny Goliger selects tunes that showcase the futuristic sounds of today, and provides context by examining their roots in musical traditions stretching back into the past. Listeners are invited on a journey of discovery that will include the freshest new releases, and builds links to the undiscovered gems of yesteryear. Expect to hear music that ranges from modern rave stylings like house, techno, electro, jungle, and juke, and traces the roots back to funk, soul, dub reggae, new wave, synth pop, EBM, and early electronica.

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I hope everyone had a wonderful Thanksgiving! This month on BLF, I’ve decided to curate an acid mix, that explores the sonic impact of the Roland TB-303, as well as the cultural impact of acid music worldwide.

The 303 sound is immediately identifiable by the squelchy character of its filter. When combined with slides and accents from the synthesizer’s quirky internal sequencer, it produces a very distinctive tone that producers manipulate over the course of a song. Originally released in 1981 as a bass synthesizer, the TB-303’s original purpose was to provide bass accompaniment for musicians who did not have a bass player at their disposal. Despite being marketed as a substitute for a bass player, the 303 proved extremely unpopular in this application due to its heavily synthesized sound, as well as the challenge of programming baselines on the unit itself. Only 10,000 original units were ever produced, and the product was discontinued in 1984 due to its poor commercial performance.

As a generally undesirable instrument (for its intended use), 303’s ended up in pawn shops and used instrument stores where they could be acquired cheaply by curious electronic musicians, who eventually discovered interesting and novel ways to use them. Thus a commercial accident was turned into a brand new art form, with a massive impact on the history of electronic music. The first genre to feature the (as of yet unnamed) acid sound was Acid House, which is a subgenre of house music created in Chicago in the mid-1980’s. Although the first acid track is a matter of debate, many attribute the earliest recordings to DJ Pierre or his group Phuture. The acid sound began to gain popularity in the local Chicago scene, where DJ’s like Ron Hardy are credited with championing it.

When acid tracks were exported from Chicago to England in the late 1980’s a nascent youth rave was catalyzed by these futuristic sounds. “Aceeid” became a massive moment, and many popular house records became overnight hits. Over the next few years, offshoots of this original acid craze developed into UK Hardcore and all of its subsequent styles (breakbeat, big beat, garage, jungle, etc). as ravers demanded faster and more intense music. In the north of England, a distinctive regional style called “Bleep” or “Bleep and Bass” was birthed from the original acid movement. One of the original labels of the Bleep scene was Warp Records, a company who’s IDM releases in the 90’s are still some of the most groundbreaking electronic records ever. Finally, on the European mainland, the youth of Belgium and Germany contributed stylistic developments that gave rise to Trance and modern Techno.

This mix features both old and new acid sounds, with a wide array of genres represented including House, Techno, Trance, Electro, Breakbeat, and IDM. I’ve tried to incorporate music from England, Europe, and the US including producers from the Midwest, East Coast, and West Coast. While not every track will feature a brightly squelching 303, I believe that all of this music owes a large part of its DNA to the innovations of Acid, and I hope to showcase all the ways that this happy accident has evolved into an incredibly diverse array of sounds. Enjoy!