Detroit DJ, producer and artist Santonio Echols has been part of the city’s electronic music story since the early days of techno.
After meeting Kevin Saunderson at Eastern Michigan University, Echols went on to form the influential project Reese & Santonio, releasing a series of 12-inch records on the KMS label including How to Play Our Music, Force Field and Bounce Your Body. Over the years he has continued to produce and remix across house and techno, with releases appearing on labels such as Defected, London Records and Tresor. In this interview, Echols reflects on the origins of Detroit techno, the creative simplicity behind some of its classic tracks, the lasting importance of vinyl, and the motivation he draws today from family and the next generation of producers.
You’re recognised as one of the originators of Detroit techno. How do you personally reflect on that early period today?
In the beginning it was all about being creative and having fun with creating different sounds. But, today I am truly blessed to be a part of something special that actually changed the world with the sound we call techno.
Meeting Kevin Saunderson at Eastern Michigan University proved pivotal. What do you remember most about forming Reese & Santonio?
The friendship and how two different thoughts and styles of thinking musically came together and created some great classics that everyone still listens to today.
Tracks like How to Play Our Music and Force Field have endured for decades. What do you think gives those records lasting relevance?
I heard a DJ playing “Forcefield” on IG just the other day. I was thinking how raw and simple the energy that contained the track. The bass controlled aggression of the track. At that time I used the Kawaii R-100 drum for both tracks and programmed them both at my mom’s house. And all I can say is the minimum and simplicity of both tracks. Both tracks were mixed by Kevin, and added that Detroit sound which we call techno today.
You’ve released music across both techno and house labels. How do you approach the balance between those worlds?
Approaching the different genres always came easy to me… it all depends on what frame of mind I’m in at that moment, which makes it easier on how I would attack the track.
Vinyl has played a major role throughout your career. What does the format still represent to you as an artist?
I try to release vinyl when I can… I released “Bad For Me” on our Imprint N.C.M label Detroit with remixes by the late Ron Carroll, Eddie Fowlkes and Brian Bonds and Keith Tucker in late 2024 which was a cover of Dee Dee Bridgewater disco classic. Also, on Norman Talley’s label Asylum, “Piano In The Light”. Releasing my music on vinyl always takes me back to the very beginning of my music career. Always bringing back great memories.
You’ve worked with a wide range of artists and labels, from KMS to Tresor and Defected. What makes a collaboration work for you?
A collaboration for me, it all depends on the song or track I’m working on at the time and what other artist/producer sounds like, and the direction they’re heading musically at that particular time. But, usually I take from what I learned from my earlier years working with KMS and apply those rules to my work ethic today.
Family legacy has become an important part of your recent work through N.C.M and the Echols Brothers project. What does that mean to you creatively?
It’s very very inspiring and gives me just as much joy as I had when producing my first record. The way they listen and are willing to learn and take criticism. Not only as producers but, being able to pass on the business side of the industry the do’s and the dont’s and how they are willing to learn from my mistakes early on in my journey.
You’ve collaborated with many Chicago and Detroit legends over the years. What have those relationships taught you about longevity in music?
I was told years ago that you’re only as good as your last record. And that always stuck with me mentally. Building relationships in the music business working with so many great people artists/producers/remixers is the key to longevity in music because everyone approaches producing differently.
I think it lost its simplicity and some creativity through the years. From having limited gear and no DAW’s… many tracks today are designed for big drops, social media moments. It’s different: it’s not really about the talent or your gift that you want to share with the world but how many followers you have.
Looking ahead, what motivates you to continue creating and releasing music now?
What motivates me today is my sons The Echols Brothers (Santonio Jr and Manny aka Mannywya) I have not felt this inspired since my first release. Continuing the love for music as an artist and a DJ, it’s a family affair, we will be hosting and promoting parties under 313Continuum monthly at Club Bleu in Detroit with special guest DJs continuously.