In focus: Terrence Dixon

Entering the sonic orbit of one of Detroit’s most elusive, enigmatic and uncompromising electronic explorers

Terrence Dixon describes techno as “forward thinking ghetto electronics” and his distinctive brand of audio aesthetics often slips between the gears, and ultimately can be quite hard to define.

Widely recognised for his incongruous outlook, minimal sound design, personal authenticity and dedication to his craft. He’s a prolific producer of the same generation as Mills and Hood, a denizen of Detroit whose career spans over 3 decades and has marked imprints such as Metroplex, Tresor, Axis, Shanti, Harbour City Sorrow, Delsin and Rush Hour along the way.

Best known for his productions under his ‘Population One’ moniker, he’s always been one for confounding accepted norms. Creating unorthodox tracks replete with off-kiltered arrangements, distorted sotto voce kick drums and otherworldly audio-centric vistas that teleport beyond your habitual sense of space and place. Whilst it would have been easy for him to rest on his laurels and sit back on such an iconic back catalogue. Instead, he continues to push the envelope with all the refreshing drive and exuberance of a youthful producer hungry to leave their mark. In his own eyes, his music is not necessarily made for DJs (even though it’s often played), nor is it designed for easy home listening (even though you might be sat comfortably in a sofa or chair right now).

Since gaining the ear and attention of Claude Young back in the 90s, Dixon has gone on to carve out a reputation as a pure and uncompromising artist. Also a student of Mike Banks, who he happily recognises taught him much of what he knows. His musical path however took it’s own course, embracing his a place at the vanguard of a musical movement: safeguarding freedom of expression within the Detroit canon, so it remains relevant in the years to come. A champion of the sound, he is firmly rooted in the city’s grand traditions, yet likes to propel things forward in unexpected ways.

Following last year’s joint venture with Jordan GCZ “Keep In Mind I’m Out Of My Mind”, we had hoped to connect for a rare interview. However, time did not work in our favour. Without further ado, we’re pleased to present a dive into his impressive catalogue and present a slice of his killer catalogue:

Terrance Dixon ‎– B1 Untitled (Taken from Live in Detroit – 1994)

Terrence Dixon – Untitled B2 (Taken from Minimalism – 1995)

Population One – Two Sides To Every Story (Taken from Two Sides To Every Story – 1996)

Terrence Dixon – Return Of Steve Austin (Taken from Bionic Man – 1997)

Terrence Dixon – Untitled B2 (Taken from Minimalism II – 2000)

Terrence Dixon – Lost (Taken from Minimalism III – 2005)

Terrence Dixon – Connect The Dots (Taken from Climb – 2008)

Terrence Dixon – Room 310 (Taken from Room 310 – 2010)

Population One – Computer Rights (Taken from I Programme My Computer Right – 2012)

Terrence Dixon – Untitled 4 (Taken from Lost At Sea 4 – 2013)

Terrence Dixon: The Test Of Time (Taken from Thief In The Night – 2017)

Population One – Octagon (Taken from HCS994X – 2020)

Terrence Dixon & Jordan GCZ – Fretless (Taken from Keep In Mind I’m Out Of My Mind – 2022)