Producing primarily Detroit techno since 1990 with a grungy four-track musical aesthetic, they are also renowned for their militant political and anti-corporate ethos.
[1][2][3][4] Jeff Mills was already an established technical DJ who came from a background of "industrial music", which was punchy, rigid, and influenced by European rock n roll with hubs in Belgium and Chicago.
After a falling out with producer Jerry Capaldi involving unequal power dynamics between the white suburban executives and the Black musicians, Final Cut left the label.
Banks had also previously been a part of a group called "the Mechanics," which sometimes covered Kraftwerk's songs live, again demonstrating the shift in the popularity of electric music from the house scene in Chicago to white artists and the European market.
Their sound was informed by their lived realities as well as the music scene at the time, namely the "Reagan era of inner-city economic recession" that particularly affected Detroit, along with the longstanding racial relations of the country that led to the rise and collapse of the Black Panther Party.
They also have a persona that emphasizes anonymity to push back against the profiling of Black DJs, performing wearing balaclavas and touting the nondescript "UR" logo.
This anonymity is emphasized by the legion of artists that cycle through the collective, notably including Gerald Mitchell,[10] DJ Rolando,[11] and James Stinson of Drexciya.
"[1] In fact, URs discussion of race is an integral and distinguishing aspect of its politics and aesthetics that functions to directly oppose not only real-life systems of white supremacy, but also the media that maintains its prevalence in the mainstream.
"Interstellar Fugitives", the first full album credited to Underground Resistance (and released in 1998), saw Mike Banks redefining the collective's sound as "High-Tech Funk", reflecting a shift in emphasis from hard, minimal club Techno to breakbeats, Electro and even occasionally Drum and Bass and down-tempo Hip-Hop.
[19] Sony claimed in subsequent statements that they first tried to contact UR to license the EP for release in Germany, recognizing the potential for a crossover hit.
[24] Founding member "Mad" Mike denounced the release, arguing that it did not constitute a legitimate cover as it was intended to profit from rather than offer tribute to the group.
[24] When confronted, Sony justified its actions by stating they intended to credit Rolando as the composer of the work and grant him royalties on its sale.
[23] Due to the negative attention directed against the label, Sony voluntarily withdrew the release, citing a desire to avoid further damaging their relationship with the musical underground.
[21] The dispute ultimately contributed to the international popularity of the original UR release, which became seen as symbolic of the group's independence and anti-corporate stance.