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Wikipedia

Techno

January 19, 2024

Not to be confused with (free) tekno music.
For the YouTuber, see Technoblade. For the Marvel character, see Fixer (Marvel Comics).

Techno is a genre of electronic dance music[2] (EDM) which is generally produced for use in a continuous DJ set, with tempo often varying between 120 and 150 beats per minute (bpm). The central rhythm is typically in common time (4/4) and often characterized by a repetitive four on the floor beat.[3] Artists may use electronic instruments such as drum machines, sequencers, and synthesizers, as well as digital audio workstations. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro instruments are popular.

Much of the instrumentation in techno emphasizes the role of rhythm over other musical parameters. Techno tracks mainly progress over manipulation of timbral characteristics of synthesizer presets and, unlike forms of EDM that tend to be produced with synthesizer keyboards, techno does not always strictly adhere to the harmonic practice of Western music and such structures are often ignored in favor of timbral manipulation alone. Another distinguishing feature of techno music and techno aesthetic is the general embracement of creative use of music production technology.

Use of the term "techno" to refer to a type of electronic music originated in Germany in the early 1980s. In 1988, following the UK release of the compilation Techno! The New Dance Sound of Detroit, the term came to be associated with a form of EDM produced in Detroit.[4][5] Detroit techno resulted from the melding of synth-pop by artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra with African American styles such as house, electro, and funk.[6] Added to this is the influence of futuristic and science-fiction themes[7] relevant to life in contemporary American society, with Alvin Toffler's book The Third Wave a notable point of reference.[8][9] The music produced in the mid-to-late 1980s by Juan Atkins, Derrick May, and Kevin Saunderson (collectively known as The Belleville Three), along with Eddie Fowlkes, Blake Baxter, James Pennington and others is viewed as the first wave of techno from Detroit.[10]

After the success of house music in a number of European countries, techno grew in popularity in the UK, Germany, Belgium and the Netherlands. In Europe regional variants quickly evolved and by the early 1990s techno subgenres such as acid, hardcore, bleep, ambient, and dub techno had developed. Music journalists and fans of techno are generally selective in their use of the term, so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance.[11][12][13][14]

Detroit techno edit

Main article: Detroit techno
See also: Electro (music), House music, Italo disco, Kraftwerk, and Synthpop

In exploring Detroit techno's origins, writer Kodwo Eshun maintains that "Kraftwerk are to techno what Muddy Waters is to the Rolling Stones: the authentic, the origin, the real."[15] Juan Atkins has acknowledged that he had an early enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroder's work with Donna Summer and the producer's own album E=MC2. Atkins also mentions that "around 1980 I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and I'd ride around in my car playing it."[16] Regarding his initial impression of Kraftwerk, Atkins notes that they were "clean and precise" relative to the "weird UFO sounds" featured in his seemingly "psychedelic" music.[17]

Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that "it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty... everything is an ugly mess in Detroit, and so we were attracted to this music. It, like, ignited our imagination!".[18] May has commented that he considered his music a direct continuation of the European synthesizer tradition.[19] He also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk.[20] YMO's song "Technopolis" (1979), a tribute to Tokyo as an electronic mecca, is considered an "interesting contribution" to the development of Detroit techno, foreshadowing concepts that Atkins and Davis would later explore with Cybotron.[21]

Kevin Saunderson has also acknowledged the influence of Europe but he claims to have been more inspired by the idea of making music with electronic equipment: "I was more infatuated with the idea that I can do this all myself."[19]

These early Detroit techno artists additionally employed science fiction imagery to articulate their visions of a transformed society.[22]

School days edit

Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians, "mix" tape traders, and aspiring DJs.[23] They also found musical inspiration via the Midnight Funk Association, an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson.[24] Mojo's show featured electronic music by artists such as Giorgio Moroder, Kraftwerk, Yellow Magic Orchestra and Tangerine Dream, alongside the funk sounds of acts such as Parliament Funkadelic and dance oriented new wave music by bands like Devo and the B-52's.[25] Atkins has noted:

He [Mojo] played all the Parliament and Funkadelic that anybody ever wanted to hear. Those two groups were really big in Detroit at the time. In fact, they were one of the main reasons why disco didn't really grab hold in Detroit in '79. Mojo used to play a lot of funk just to be different from all the other stations that had gone over to disco. When 'Knee Deep' came out, that just put the last nail in the coffin of disco music.[16]

Despite the short-lived disco boom in Detroit, it had the effect of inspiring many individuals to take up mixing, Juan Atkins among them. Subsequently, Atkins taught May how to mix records, and in 1981, "Magic Juan", Derrick "Mayday", in conjunction with three other DJ's, one of whom was Eddie "Flashin" Fowlkes, launched themselves as a party crew called Deep Space Soundworks[26][27] (also referred to as Deep Space).[28] In 1980 or 1981, they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year.[16]

During the late 1970s and early 1980s, high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends[29] allowed the young promoters to develop and nurture a local dance music scene. As the local scene grew in popularity, DJs began to band together to market their mixing skills and sound systems to clubs that were hoping to attract larger audiences. Local church activity centers, vacant warehouses, offices, and YMCA auditoriums were the early locations where the musical form was nurtured.[30]

Juan Atkins edit

Main articles: Juan Atkins and Cybotron (American band)

Of the four individuals responsible for establishing techno as a genre in its own right, Juan Atkins is widely cited as "The Originator".[31] In 1995, the American music technology publication Keyboard Magazine honored him as one of 12 Who Count in the history of keyboard music.[32]

In the early 1980s, Atkins began recording with musical partner Richard Davis (and later with a third member, Jon-5) as Cybotron. This trio released a number of rock and electro-inspired tunes,[33] the most successful of which were Clear (1983) and its moodier followup, "Techno City" (1984).[34][35]

Atkins used the term techno to describe Cybotron's music, taking inspiration from Futurist author Alvin Toffler, the original source for words such as cybotron and metroplex. Atkins has described earlier synthesizer based acts like Kraftwerk as techno, although many would consider both Kraftwerk's and Juan's Cybotron outputs as electro.[36] Atkins viewed Cybotron's Cosmic Cars (1982) as unique, Germanic, synthesized funk, but he later heard Afrika Bambaataa's "Planet Rock" (1982) and considered it to be a superior example of the music he envisioned. Inspired, he resolved to continue experimenting, and he encouraged Saunderson and May to do likewise.[37]

Eventually, Atkins started producing his own music under the pseudonym Model 500, and in 1985 he established the record label Metroplex.[38] The same year saw an important turning point for the Detroit scene with the release of Model 500's "No UFO's," a seminal work that is generally considered the first techno production.[39][40][41][42][43] Of this time, Atkins has said:

When I started Metroplex around February or March of '85 and released "No UFO's," I thought I was just going to make my money back on it, but I wound up selling between 10,000 and 15,000 copies. I had no idea that my record would happen in Chicago. Derrick's parents had moved there, and he was making regular trips between Detroit and Chicago. So when I came out with 'No UFO's,' he took copies out to Chicago and gave them to some DJs, and it just happened.[16]

Chicago edit

See also: Chicago house and House music

The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and influenced by house in particular.[44][45] May's 1987 hit "Strings of Life" (released under the alias Rhythim Is Rhythim) is considered a classic in both the house and techno genres.[45][46][47]

Juan Atkins also believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound.[48] Atkins also suggests that the Chicago house sound developed as a result of Frankie Knuckles' using a drum machine he bought from Derrick May.[49] He claims:

Derrick sold Chicago DJ Frankie Knuckles a TR909 drum machine. This was back when the Powerplant was open in Chicago, but before any of the Chicago DJs were making records. They were all into playing Italian imports; 'No UFOs' was the only U.S.-based independent record that they played. So Frankie Knuckles started using the 909 at his shows at the Powerplant. Boss had just brought out their little sampling footpedal, and somebody took one along there. Somebody was on the mic, and they sampled that and played it over the drumtrack pattern. Having got the drum machine and the sampler, they could make their own tunes to play at parties. One thing just led to another, and Chip E used the 909 to make his own record, and from then on, all these DJs in Chicago borrowed that 909 to come out with their own records.[16]

In the UK, a club following for house music grew steadily from 1985, with interest sustained by scenes in London, Manchester, Nottingham, and later Sheffield and Leeds. The DJs thought to be responsible for house's early UK success include Mike Pickering, Mark Moore, Colin Faver, and Graeme Park (DJ).[50]

Detroit sound edit

 
The Belleville Three performing at the Detroit Masonic Temple in 2017. From left to right: Juan Atkins, Kevin Saunderson, and Derrick May

The early producers, enabled by the increasing affordability of sequencers and synthesizers, merged a European synthpop aesthetic with aspects of soul, funk, disco, and electro, pushing EDM into uncharted terrain. They deliberately rejected the Motown legacy and traditional formulas of R&B and soul, and instead embraced technological experimentation.[51][52][53][54]

Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it. As the price of sequencers and synthesizers has dropped, so the experimentation has become more intense. Basically, we're tired of hearing about being in love or falling out, tired of the R&B system, so a new progressive sound has emerged. We call it techno!

— Juan Atkins, 1988[51]

The resulting Detroit sound was interpreted by Derrick May and one journalist in 1988 as a "post-soul" sound with no debt to Motown,[52][53] but by another journalist a decade later as "soulful grooves" melding the beat-centric styles of Motown with the music technology of the time.[55] May described the sound of techno as something that is "...like Detroit...a complete mistake. It's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."[52][53] Juan Atkins has stated that it is "music that sounds like technology, and not technology that sounds like music, meaning that most of the music you listen to is made with technology, whether you know it or not. But with techno music, you know it."[56]

One of the first Detroit productions to receive wider attention was Derrick May's "Strings of Life" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987–1988 house music boom (see Second Summer of Love).[57] It became May's best known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."[58]

Acid house edit

See also: Acid house, Rave, and Second Summer of Love
 
Roland TB-303: The bass line synthesizer that was used prominently in acid house.

By 1988, house music had exploded in the UK, and acid house was increasingly popular.[50] There was also a long-established warehouse party subculture based around the sound system scene. In 1988, the music played at warehouse parties was predominantly house. That same year, the Balearic party vibe associated with Ibiza-based DJ Alfredo Fiorito was transported to London, when Danny Rampling and Paul Oakenfold opened the clubs Shoom and Spectrum, respectively. Both night spots quickly became synonymous with acid house, and it was during this period that the use of MDMA, as a party drug, started to gain prominence. Other important UK clubs at this time included Back to Basics in Leeds, Sheffield's Leadmill and Music Factory, and in Manchester The Haçienda, where Mike Pickering and Graeme Park's Friday night spot, Nude, was an important proving ground for American underground[59] dance music. Acid house party fever escalated in London and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A.M. closing hours, sought refuge in the warehouse party scene that ran all night. To escape the attention of the press and the authorities, this after-hours activity quickly went underground. Within a year, however, up to 10,000 people at a time were attending the first commercially organized mass parties, called raves, and a media storm ensued.[60]

The success of house and acid house paved the way for wider acceptance of the Detroit sound, and vice versa: techno was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with London clubs catching up later;[61] but in 1987, it was "Strings of Life" which eased London club-goers into acceptance of house, according to DJ Mark Moore.[62][63]

The New Dance Sound of Detroit edit

Main article: Techno! The New Dance Sound of Detroit

The mid-1988 UK release of Techno! The New Dance Sound of Detroit,[64][65] an album compiled by ex-Northern Soul DJ and Kool Kat Records boss Neil Rushton (at the time an A&R scout for Virgin's "10 Records" imprint) and Derrick May, introduced of the word techno to UK audiences.[4][5] Although the compilation put techno into the lexicon of music journalism in the UK, the music was initially viewed as Detroit's interpretation of Chicago house rather than as a separate genre.[5][66] The compilation's working title had been The House Sound of Detroit until the addition of Atkins' song "Techno Music" prompted reconsideration.[64][67] Rushton was later quoted as saying he, Atkins, May, and Saunderson came up with the compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they instead favored a term they were already using, techno.[5][67][68]

Derrick May views this as one of his busiest times and recalls that it was a period where he

was working with Carl Craig, helping Kevin, helping Juan, trying to put Neil Rushton in the right position to meet everybody, trying to get Blake Baxter endorsed so that everyone liked him, trying to convince Shake (Anthony Shakir) that he should be more assertive...and keep making music as well as do the Mayday mix (for the show Street Beat on Detroit's WJLB radio station) and run Transmat records.[64]

Commercially, the release did not fare as well and failed to recoup, but Inner City's production "Big Fun" (1988), a track that was almost not included on the compilation, became a crossover hit in fall 1988.[69] The record was also responsible for bringing industry attention to May, Atkins and Saunderson, which led to discussions with ZTT records about forming a techno supergroup called Intellex. But, when the group were on the verge of finalising their contract, May allegedly refused to agree to Top of the Pops appearances and negotiations collapsed.[70] According to May, ZTT label boss Trevor Horn had envisaged that the trio would be marketed as a "black Petshop Boys."[71]

Despite Virgin Records' disappointment with the poor sales of Rushton's compilation,[72] the record was successful in establishing an identity for techno and was instrumental in creating a platform in Europe for both the music and its producers.[73] Ultimately, the release served to distinguish the Detroit sound from Chicago house and other forms of underground dance music that were emerging during the rave era of the late 1980s and early 1990s, a period during which techno became more adventurous and distinct.[74][75]

Music Institute edit

In mid-1988, developments in the Detroit scene led to the opening of a nightclub called the Music Institute (MI), located at 1315 Broadway in downtown Detroit. The venue was secured by George Baker and Alton Miller with Darryl Wynn and Derrick May participating as Friday night DJs, and Baker and Chez Damier playing to a mostly gay crowd on Saturday nights.

The club closed on 24 November 1989, with Derrick May playing "Strings of Life" along with a recording of clock tower bells.[76] May explains:

It all happened at the right time by mistake, and it didn't last because it wasn't supposed to last. Our careers took off right around the time we [the MI] had to close, and maybe it was the best thing. I think we were peaking – we were so full of energy and we didn't know who we were or [how to] realize our potential. We had no inhibitions, no standards, we just did it. That's why it came off so fresh and innovative, and that's why ... we got the best of the best.[76]

Though short-lived, MI was known internationally for its all-night sets, its sparse white rooms, and its juice bar stocked with "smart drinks" (the Institute never served liquor). The MI, notes Dan Sicko, along with Detroit's early techno pioneers, "helped give life to one of the city's important musical subcultures – one that was slowly growing into an international scene."[76]

German techno edit

See also: Tresor (club), Love Parade, Hardcore techno, Gabber, Electronic body music, and Trance music
 
Doorway to Dorian Gray in Frankfurt, venue of the dance event Technoclub by Talla 2XLC

In 1982, while working at Frankfurt's City Music record store, DJ Talla 2XLC started to use the term techno to categorize artists such as Depeche Mode, Front 242, Heaven 17, Kraftwerk and New Order, with the word used as shorthand for technologically created dance music. Talla's categorization became a point of reference for other DJs, including Sven Väth.[77][78] Talla further popularized the term in Germany when he founded Technoclub at Frankfurt's No Name Club in 1984, which later moved to the Dorian Gray club in 1987.[77][78] Talla's club spot served as the hub for the regional EBM and electronic music scene, and according to Jürgen Laarmann, of Frontpage magazine, it had historical merit in being the first club in Germany to play almost exclusively EDM.[79]

Frankfurt tape scene edit

Inspired by Talla's music selection, in the early 80s several young artists from Frankfurt started to experiment on cassette tapes with electronic music coming from the City Music record store, mixing the latest catalogue with additional electronic sounds and pitched BPM. This became known as the Frankfurt tape scene.

The Frankfurt tape scene evolved around the early and experimental work done by the likes of Tobias Freund, Uwe Schmidt, Lars Müller and Martin Schopf.[80] Some of the work done by Andreas Tomalla, Markus Nikolai and Thomas Franzmann evolved in collaborative work under the Bigod 20 collective. While this early work was strongly characterized as experimental electronic music fused with strong EBM, krautrock, synthpop and technopop influences, the later work during the mid and late 80's clearly transitioned to a clear techno sound.

Influence of Chicago and Detroit edit

By 1987 a German party scene based around the Chicago sound was well established.[citation needed] In the late 1980s, acid house also established itself in West Germany as a new trend in clubs and discotheques.[81][better source needed] In 1988, the Ufo opened in West Berlin, an illegal venue for acid house parties, which existed until 1990.[82][unreliable source?] In Munich at this time, the Negerhalle (1983–1989) and the ETA-Halle established themselves as the first acid house clubs in temporarily used, dilapidated industrial halls, marking the beginning of the so-called "hall culture" in Germany.[83][84]

In July 1989 Dr. Motte and Danielle de Picciotto organized the first Love Parade in West Berlin, just a few months before the Fall of the Berlin Wall.[85]

Growth of German scene edit

 
The original Tresor club (1991–2005)

Following the fall of the Berlin Wall on 9 November 1989 and the German reunification in October 1990, free underground techno parties mushroomed in East Berlin.[82] East German DJ Paul van Dyk has remarked that techno was a major force in reestablishing social connections between East and West Germany during the unification period.[86] In the now reunified Berlin, several locations opened near the foundations of the Berlin Wall in the former eastern part of the city from 1991 onwards: the Tresor (est. 1991), the Planet (1991–1993), the Bunker (1992–1996), and the E-Werk (1993–1997).[87][88] It was in Tresor at this time that a trend in paramilitary clothing was established (amongst the techno fraternity) by DJ Tanith;[89] possibly as an expression of a commitment to the underground aesthetic of the music, or perhaps influenced by UR's paramilitary posturing.[90] In the same period, German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into hardcore.[91] DJ Tanith commented at the time that "Berlin was always hardcore, hardcore hippie, hardcore punk, and now we have a very hardcore house sound."[87] This emerging sound is thought to have been influenced by Dutch gabber and Belgian hardcore; styles that were in their own perverse way paying homage to Underground Resistance and Richie Hawtin's Plus 8 Records. Other influences on the development of this style were European electronic body music (EBM) groups of the mid-1980s such as DAF, Front 242, and Nitzer Ebb.[92]

 
Tanith in 1994

Changes were also taking place in Frankfurt during the same period but it did not share the egalitarian approach found in the Berlin party scene. It was instead very much centered around discothèques and existing arrangements with various club owners. In 1988, after the Omen opened, the Frankfurt dance music scene was allegedly dominated by the club's management and they made it difficult for other promoters to get a start. By the early 1990s Sven Väth had become perhaps the first DJ in Germany to be worshipped like a rock star. He performed center stage with his fans facing him, and as co-owner of Omen, he is believed to have been the first techno DJ to run his own club.[79] One of the few real alternatives then was The Bruckenkopf in Mainz, underneath a Rhine bridge, a venue that offered a non-commercial alternative to Frankfurt's discothèque-based clubs. Other notable underground parties were those run by Force Inc. Music Works and Ata & Heiko from Playhouse records (Ongaku Musik). By 1992 DJ Dag & Torsten Fenslau were running a Sunday morning session at Dorian Gray, a plush discothèque near the Frankfurt airport. They initially played a mix of different styles including Belgian new beat, Deep House, Chicago House, and synthpop such as Kraftwerk and Yello and it was out of this blend of styles that the Frankfurt trance scene is believed to have emerged.[79]

In 1990, the Babalu Club, the first afterhours techno club in Germany, opened in Munich and was a place for the formation of the southern German techno scene, where protagonists such as DJ Hell, Monika Kruse, Tom Novy or Woody came together.[83][84][93]

In 1993–94 rave became a mainstream music phenomenon in Germany, seeing with it a return to "melody, New Age elements, insistently kitsch harmonies and timbres". This undermining of the German underground sound lead to the consolidation of a German "rave establishment," spearheaded by the party organisation Mayday, with its record label Low Spirit, WestBam, Marusha, and a music channel called VIVA. At this time the German popular music charts were riddled with Low Spirit "pop-Tekno" German folk music reinterpretations of tunes such as "Somewhere Over The Rainbow" and "Tears Don't Lie", many of which became hits. At the same time, in Frankfurt, a supposed alternative was a music characterized by Simon Reynolds as "moribund, middlebrow Electro-Trance music, as represented by Frankfurt's own Sven Väth and his Harthouse label."[94] Illegal raves, however, regained importance in the German techno scene as a countermovement to the commercial mass raves in the mid-1990s.[95]

Tekkno versus techno edit

In Germany, fans started to refer to the harder techno sound emerging in the early 1990s as Tekkno (or Brett).[82] This alternative spelling, with varying numbers of ks, began as a tongue-in-cheek attempt to emphasize the music's hardness, but by the mid-1990s it came to be associated with a controversial point of view that the music was and perhaps always had been wholly separate from Detroit's techno, deriving instead from a 1980s EBM-oriented club scene cultivated in part by DJ/musician Talla 2XLC in Frankfurt.[69]

At some point tension over "who defines techno" arose between scenes in Frankfurt and Berlin. DJ Tanith has expressed that Techno as a term already existed in Germany but was to a large extent undefined. Dimitri Hegemann has stated that the Frankfurt definition of techno associated with Talla's Technoclub differed from that used in Berlin.[79] Frankfurt's Armin Johnert viewed techno as having its roots in acts such DAF, Cabaret Voltaire, and Suicide, but a younger generation of club goers had a perception of the older EBM and Industrial as handed down and outdated. The Berlin scene offered an alternative and many began embracing an imported sound that was being referred to as Techno-House. The move away from EBM had started in Berlin when acid house became popular, thanks to Monika Dietl's radio show on SFB 4. Tanith distinguished acid-based dance music from the earlier approaches, whether it be DAF or Nitzer Ebb, because the latter was aggressive, he felt that it epitomized "being against something," but of acid house he said, "it's electronic, it's fun it's nice."[79] By Spring 1990, Tanith, along with Wolle XDP, an East-Berlin party organizer responsible for the X-tasy Dance Project, were organizing the first large scale rave events in Germany. This development would lead to a permanent move away from the sound associated with Techno-House and toward a hard edged mix of music that came to define Tanith and Wolle's Tekknozid parties. According to Wolle it was an "out and out rejection of disco values," instead they created a "sound storm" and encouraged a form of "dance floor socialism," where the DJ was not placed in the middle and you "lose yourself in light and sound."[79]

Developments edit

As the techno sound evolved in the late 1980s and early 1990s, it also diverged to such an extent that a wide spectrum of stylistically distinct music was being referred to as techno. This ranged from relatively pop oriented acts such as Moby[96] to the distinctly anti-commercial sentiments[97] of Underground Resistance. Derrick May's experimentation on works such as Beyond the Dance (1989) and The Beginning (1990) were credited with taking techno "in dozens of new directions at once and having the kind of expansive impact John Coltrane had on Jazz".[98] The Birmingham-based label Network Records label was instrumental in introducing Detroit techno to British audiences.[99] By the early 1990s, the original techno sound had garnered a large underground following in the United Kingdom, Germany, the Netherlands and Belgium. The growth of techno's popularity in Europe between 1988 and 1992 was largely due to the emergence of the rave scene and a thriving club culture.[74]

American exodus edit

In the United States during the early 90s, apart from regional scenes in Detroit, New York City, Chicago and Orlando, interest in techno was limited. Many Detroit based producers, frustrated by the lack of opportunity in the US, looked to Europe for a future livelihood.[100] This first wave of Detroit expatriates was soon joined by a so-called "second wave" that included Carl Craig, Octave One, Jay Denham, Kenny Larkin, Stacey Pullen, and UR's Jeff Mills, Mike Banks, and Robert Hood. In the same period, close to Detroit (Windsor, Ontario), Richie Hawtin, with business partner John Acquaviva, launched the techno imprint Plus 8 Records. A number of New York producers also made an impression in Europe at this time, most notably Frankie Bones, Lenny Dee, and Joey Beltram .[101]

These developments in American-produced techno between 1990 and 1992 fueled the expansion and eventual divergence of techno in Europe, particularly in Germany.[102][103] In Berlin, the club Tresor which had opened in 1991 for a time was the standard bearer for techno and played host to many of the leading Detroit producers, some of whom had relocated to Berlin.[104] The club brought new life to the careers of Detroit artists such as Santonio Echols, Eddie Fowlkes and Blake Baxter, who played there alongside established Berlin DJs such as Dr. Motte and Tanith. According to Dan Sicko, "Germany's growing scene in the early 1990s was the beginning of techno's decentralization", and "techno began to create its second logical center in Berlin". At this time, the now reunified Berlin also began to regain its position as the musical capital of Germany.[105]

Although eclipsed by Germany, Belgium was another focus of second-wave techno in this time period. The Ghent-based label R&S Records embraced harder-edged techno by "teenage prodigies" like Beltram and C.J. Bolland, releasing "tough, metallic tracks...with harsh, discordant synth lines that sounded like distressed Hoovers," according to one music journalist.[106]

In the United Kingdom, Sub Club which opened in Glasgow in 1987,[107][better source needed] and Trade which opened its doors to Londoners in 1990, were venues which helped bring techno into the country.[citation needed] Trade has been referred to as the 'original all night bender'.[108]

A Techno Alliance edit

In 1993, the German techno label Tresor Records released the compilation album Tresor II: Berlin & Detroit – A Techno Alliance,[109] a testament to the influence of the Detroit sound upon the German techno scene and a celebration of a "mutual admiration pact" between the two cities.[103] As the mid-1990s approached, Berlin was becoming a haven for Detroit producers; Jeff Mills and Blake Baxter even resided there for a time. In the same period, with the assistance of Tresor, Underground Resistance released their X-101/X-102/X103 album series, Juan Atkins collaborated with 3MB's Thomas Fehlmann and Moritz Von Oswald[103] and Tresor-affiliated label Basic Channel had its releases mastered by Detroit's National Sound Corporation, the main mastering house for the entire Detroit dance music scene. In a sense, popular electronic music had come full circle, returning to Germany, home of a primary influence on the EDM of the 1980s: Düsseldorf's Kraftwerk. The dance sounds of Chicago and Detroit also had another German connection, as it was in Munich that Giorgio Moroder and Pete Bellotte first produced the synthesizer-generated Eurodisco sound, including the seminal four-on-the-floor track I Feel Love.[110][82]

Minimal techno edit

Main article: Minimal techno
 
Robert Hood, techno minimalist, in 2009

As techno continued to transmute a number of Detroit producers began to question the trajectory the music was taking. One response came in the form of so-called minimal techno (a term producer Daniel Bell found difficult to accept, finding the term minimalism, in the artistic sense of the word, too "arty").[111] It is thought that Robert Hood, a Detroit-based producer and one time member of UR, is largely responsible for ushering in the minimal strain of techno.[112] Hood describes the situation in the early 1990s as one where techno had become too "ravey", with increasing tempos, the emergence of gabber, and related trends straying far from the social commentary and soul-infused sound of original Detroit techno. In response, Hood and others sought to emphasize a single element of the Detroit aesthetic, interpreting techno with "a basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move".[113] Hood explains:

I think Dan [Bell] and I both realized that something was missing – an element ... in what we both know as techno. It sounded great from a production point of standpoint, but there was a 'jack' element in the [old] structure. People would complain that there's no funk, no feeling in techno anymore, and the easy escape is to put a vocalist and some piano on top to fill the emotional gap. I thought it was time for a return to the original underground.[114]

Jazz influences edit

See also: Jazz, Jazz fusion, and Musical improvisation

Some techno has also been influenced by or directly infused with elements of jazz.[115] This led to increased sophistication in the use of both rhythm and harmony in a number of techno productions.[116] Manchester (UK)-based techno act 808 State helped fuel this development with tracks such as "Pacific State"[117] and "Cobra Bora" in 1989.[118] Detroit producer Mike Banks was heavily influenced by jazz, as demonstrated on the influential Underground Resistance release Nation 2 Nation (1991).[119] By 1993, Detroit acts such as Model 500 and UR had made explicit references to the genre, with the tracks "Jazz Is The Teacher" (1993)[106] and "Hi-Tech Jazz" (1993), the latter being part of a larger body of work and group called Galaxy 2 Galaxy, a self-described jazz project based on Kraftwerk's "man machine" doctrine.[119][120] This lead was followed by a number of techno producers in the UK who were influenced by both jazz and UR, Dave Angel's "Seas of Tranquility" EP (1994) being a case in point,[121][122] Other notable artists who set about expanding upon the structure of "classic techno" include Dan Curtin, Morgan Geist, Titonton Duvante and Ian O'Brien.[123]

Intelligent techno edit

See also: Intelligent dance music, ambient techno, and bleep techno

In 1991 UK music journalist Matthew Collin wrote that "Europe may have the scene and the energy, but it's America which supplies the ideological direction...if Belgian techno gives us riffs, German techno the noise, British techno the breakbeats, then Detroit supplies the sheer cerebral depth."[124] By 1992 a number of European producers and labels began to associate rave culture with the corruption and commercialization of the original techno ideal.[125] Following this the notion of an intelligent or Detroit inspired pure techno aesthetic began to take hold. Detroit techno had maintained its integrity throughout the rave era and was pushing a new generation of so-called intelligent techno producers forward. Simon Reynolds suggests that this progression "involved a full-scale retreat from the most radically posthuman and hedonistically functional aspects of rave music toward more traditional ideas about creativity, namely the auteur theory of the solitary genius who humanizes technology."[126]

The term intelligent techno was used to differentiate more sophisticated versions of underground techno [127] from rave-oriented styles such as breakbeat hardcore, Schranz, Dutch Gabber. Warp Records was among the first to capitalize upon this development with the release of the compilation album Artificial Intelligence[128] Of this time, Warp founder and managing director Steve Beckett said

the dance scene was changing and we were hearing B-sides that weren't dance but were interesting and fitted into experimental, progressive rock, so we decided to make the compilation Artificial Intelligence, which became a milestone ... it felt like we were leading the market rather than it leading us, the music was aimed at home listening rather than clubs and dance floors: people coming home, off their nuts and having the most interesting part of the night listening to totally tripped out music. The sound fed the scene.[129]

Warp had originally marketed Artificial Intelligence using the description electronic listening music but this was quickly replaced by intelligent techno. In the same period (1992–93) other names were also bandied about such as armchair techno, ambient techno, and electronica,[130] but all referred to an emerging form of post-rave dance music for the "sedentary and stay at home".[131] Following the commercial success of the compilation in the United States, Intelligent Dance Music eventually became the name most commonly used for much of the experimental dance music emerging during the mid-to-late 1990s.

Although it is primarily Warp that has been credited with ushering the commercial growth of IDM and electronica, in the early 1990s there were many notable labels associated with the initial intelligence trend that received little, if any, wider attention. Amongst others they include: Black Dog Productions (1989), Carl Craig's Planet E (1991), Kirk Degiorgio's Applied Rhythmic Technology (1991), Eevo Lute Muzique (1991), General Production Recordings (1991), In 1993, a number of new "intelligent techno"/"electronica" record labels emerged, including New Electronica, Mille Plateaux, 100% Pure (1993) and Ferox Records (1993).

Free techno edit

See also: Free tekno, Freetekno, Teknival, Free Party, Acid techno, and DIY culture
 
A sound system at Czechtek 2004

In the early 1990s a post-rave, DIY, free party scene had established itself in the UK. It was largely based around an alliance between warehouse party goers from various urban squat scenes and politically inspired new age travellers. The new agers offered a readymade network of countryside festivals that were hastily adopted by squatters and ravers alike.[132] Prominent among the sound systems operating at this time were Exodus in Luton, Tonka in Brighton, Smokescreen in Sheffield, DiY in Nottingham, Bedlam, Circus Warp, LSDiesel and London's Spiral Tribe. The high point of this free party period came in May 1992 when with less than 24 hours notice and little publicity more than 35,000 gathered at the Castlemorton Common Festival for 5 days of partying.[133]

This one event was largely responsible for the introduction in 1994 of the Criminal Justice and Public Order Act;[134] effectively leaving the British free party scene for dead. Following this many of the traveller artists moved away from Britain to Europe, the US, Goa in India, Koh Phangan in Thailand and Australia's East Coast.[133] In the rest of Europe, due in some part to the inspiration of traveling sound systems from the UK,[133] rave enjoyed a prolonged existence as it continued to expand across the continent.[102]

Spiral Tribe, Bedlam and other English sound systems took their cooperative techno ideas to Europe, particularly Eastern Europe where it was cheaper to live, and audiences were quick to appropriate the free party ideology. It was European Teknival free parties, such as the annual Czechtek event in the Czech Republic that gave rise to several French, German and Dutch sound systems. Many of these groups found audiences easily and were often centered around squats in cities such as Amsterdam and Berlin.[133]

Divergence edit

See also: List of electronic music genres

By 1994 there were a number of techno producers in the UK and Europe building on the Detroit sound, but a number of other underground dance music styles were by then vying for attention. Some drew upon the Detroit techno aesthetic, while others fused components of preceding dance music forms. This led to the appearance (in the UK initially) of inventive new music that sounded far-removed from techno. For instance jungle (drum and bass) demonstrated influences ranging from hip hop, soul, and reggae to techno and house.

With an increasing diversification (and commercialization) of dance music, the collectivist sentiment prominent in the early rave scene diminished, each new faction having its own particular attitude and vision of how dance music (or in certain cases, non-dance music) should evolve. According to Muzik magazine, by 1995 the UK techno scene was in decline and dedicated club nights were dwindling. The music had become "too hard, too fast, too male, too drug-oriented, too anally retentive." Despite this, weekly night at clubs such as Final Frontier (London), The Orbit (Leeds), House of God (Birmingham), Pure (Edinburgh, whose resident DJ Twitch later founded the more eclectic Optimo), and Bugged Out (Manchester) were still popular. With techno reaching a state of "creative palsy," and with a disproportionate number of underground dance music enthusiasts more interested in the sounds of rave and jungle, in 1995 the future of the UK techno scene looked uncertain as the market for "pure techno" waned. Muzik described the sound of UK techno at this time as "dutiful grovelling at the altar of American techno with a total unwillingness to compromise."[135]

By the end of the 1990s, a number of post-techno [136] underground styles had emerged, including ghettotech (a style that combines some of the aesthetics of techno with hip-hop and house music), nortec, glitch, digital hardcore, electroclash[1] and so-called no-beat techno.[137]

In attempting to sum up the changes since the heyday of Detroit techno, Derrick May has since revised his famous quote in stating that "Kraftwerk got off on the third floor and now George Clinton's got Napalm Death in there with him. The elevator's stalled between the pharmacy and the athletic wear store."[71]

Commercial exposure edit

 
Underworld during a live performance

While techno and its derivatives only occasionally produce commercially successful mainstream acts—Underworld and Orbital being two better-known examples—the genre has significantly affected many other areas of music. In an effort to appear relevant, many established artists, for example Madonna and U2, have dabbled with dance music, yet such endeavors have rarely evidenced a genuine understanding or appreciation of techno's origins with the former proclaiming in January 1996 that "Techno=Death".[138][139][140]

Rapper Missy Elliott exposed the popular music audience to the Detroit techno sound when she featured material from Cybotron's Clear on her 2006 release "Lose Control"; this resulted in Juan Atkins' receiving a Grammy Award nomination for his writing credit. Elliott's 2001 album Miss E... So Addictive also clearly demonstrated the influence of techno inspired club culture.[141]

In the late 90s the publication of relatively accurate histories by authors Simon Reynolds (Generation Ecstasy, also known as Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the Detroit Electronic Music Festival in the 2000s, helped diffuse some of the genre's more dubious mythology.[142] Even the Detroit-based company Ford Motors eventually became savvy to the mass appeal of techno, noting that "this music was created partly by the pounding clangor of the Motor City's auto factories. It became natural for us to incorporate Detroit techno into our commercials after we discovered that young people are embracing techno." With a marketing campaign targeting under-35s, Ford used "Detroit Techno" as a print ad slogan and chose Model 500's "No UFO's" to underpin its November 2000 MTV television advertisement for the Ford Focus.[143][144][145][146]

Antecedents edit

Early use of the term 'Techno' edit

In 1977, Steve Fairnie and Bev Sage formed an electronica band called the Techno Twins in London, England. When Kraftwerk first toured Japan, their music was described as "technopop" by the Japanese press.[147] The Japanese band Yellow Magic Orchestra used the word 'techno' in a number of their works such as the song "Technopolis" (1979), the album Technodelic (1981), and a flexi disc EP, "The Spirit of Techno" (1983).[148] When Yellow Magic Orchestra toured the United States in 1980, they described their own music as technopop, and were written up in Rolling Stone Magazine.[149] Around 1980, the members of YMO added synthesizer backing tracks to idol songs such as Ikue Sakakibara's "Robot", and these songs were classified as 'techno kayou' or 'bubblegum techno.'[citation needed] In 1985, Billboard reviewed the Canadian band Skinny Puppy's album, and described the genre as techno dance.[150] Juan Atkins himself said "In fact, there were a lot of electronic musicians around when Cybotron started, and I think maybe half of them referred to their music as 'techno.' However, the public really wasn't ready for it until about '85 or '86. It just so happened that Detroit was there when people really got into it."[151]

Proto-techno edit

The popularity of Eurodisco and Italo disco—referred to as progressive in Detroit—and new romantic synthpop in the Detroit high school party scene from which techno emerged[152] has prompted a number of commentators to try to redefine the origins of techno by incorporating musical precursors to the Detroit sound as part of a wider historical survey of the genre's development.[15][153][154] The search for a mythical "first techno record" leads such commentators to consider music from long before the 1988 naming of the genre. Aside from the artists whose music was popular in the Detroit high school scene ("progressive" disco acts such as Giorgio Moroder, Alexander Robotnick, and Claudio Simonetti and synthpop artists such as Visage, New Order, Depeche Mode, The Human League, and Heaven 17), they point to examples such as "Sharevari" (1981) by A Number of Names,[155] danceable selections from Kraftwerk (1977–83), the earliest compositions by Cybotron (1981), Moroder's "From Here to Eternity" (1977), and Manuel Göttsching's "proto-techno masterpiece"[154] E2-E4 (1981). The Eurodisco song I Feel Love, produced by Giorgio Moroder for Donna Summer in 1976, has been described as a milestone and blueprint for EDM because it was the first to combine repetitive synthesizer loops with a continuous four-on-the-floor bass drum and an off-beat hi-hat, which would become a main feature of techno and house ten years later.[156][110][157] Another example is a record entitled Love in C minor, released in 1976 by Parisian Eurodisco producer Jean-Marc Cerrone; cited as the first so called "conceptual disco" production and the record from which house, techno, and other underground dance music styles flowed.[158] Yet another example is Yellow Magic Orchestra's work which has been described as "proto-techno"[159][160]

Around 1983, Sheffield band Cabaret Voltaire began including funk and EDM elements into their sound, and in later years, would come to be described as techno. Nitzer Ebb was an Essex band formed in 1982, which also showed funk and EDM influence on their sound around this time. The Danish band Laid Back released "White Horse" in 1983 with a similar funky electronica sound.

Prehistory edit

Certain electro-disco and European synthpop productions share with techno a dependence on machine-generated dance rhythms, but such comparisons are not without contention. Efforts to regress further into the past, in search of earlier antecedents, entails a further regression, to the sequenced electronic music of Raymond Scott, whose "The Rhythm Modulator," "The Bass-Line Generator," and "IBM Probe" are considered early examples of techno-like music. In a review of Scott's Manhattan Research Inc. compilation album the English newspaper The Independent suggested that "Scott's importance lies mainly in his realization of the rhythmic possibilities of electronic music, which laid the foundation for all electro-pop from disco to techno."[161] In 2008, a tape from the mid-to-late 1960s by the original composer of the Doctor Who theme Delia Derbyshire, was found to contain music that sounded remarkably like contemporary EDM. Commenting on the tape, Paul Hartnoll, of the dance group Orbital, described the example as "quite amazing," noting that it sounded not unlike something that "could be coming out next week on Warp Records."[162]

Music production practice edit

Stylistic considerations edit

In general, techno is very DJ-friendly, being mainly instrumental (commercial varieties being an exception) and is produced with the intention of its being heard in the context of a continuous DJ set, wherein the DJ progresses from one record to the next via a synchronized segue or "mix."[163] Much of the instrumentation in techno emphasizes the role of rhythm over other musical parameters, but the design of synthetic timbres, and the creative use of music production technology in general, are important aspects of the overall aesthetic practice.

Unlike other forms of EDM that tend to be produced with synthesizer keyboards, techno does not always strictly adhere to the harmonic practice of Western music and such strictures are often ignored in favor of timbral manipulation alone.[164] The use of motivic development (though relatively limited) and the employment of conventional musical frameworks is more widely found in commercial techno styles, for example euro-trance, where the template is often an AABA song structure.[165]

The main drum part is almost universally in common time (4/4); meaning 4 quarter note pulses per bar.[166] In its simplest form, time is marked with kicks (bass drum beats) on each quarter-note pulse, a snare or clap on the second and fourth pulse of the bar, with an open hi-hat sound every second eighth note. This is essentially a drum pattern popularized by disco (or even polka) and is common throughout house and trance music as well. The tempo tends to vary between approximately 120 bpm (quarter note equals 120 pulses per minute) and 150 bpm, depending on the style of techno.

Some of the drum programming employed in the original Detroit-based techno made use of syncopation and polyrhythm, yet in many cases the basic disco-type pattern was used as a foundation, with polyrhythmic elaborations added using other drum machine voices. This syncopated-feel (funkiness) distinguishes the Detroit strain of techno from other variants. It is a feature that many DJs and producers still use to differentiate their music from commercial forms of techno, the majority of which tend to be devoid of syncopation. Derrick May has summed up the sound as 'Hi-tech Tribalism': something "very spiritual, very bass oriented, and very drum oriented, very percussive. The original techno music was very hi-tech with a very percussive feel... it was extremely, extremely Tribal. It feels like you're in some sort of hi-tech village."[145]

Compositional techniques edit

 
Example of a professional production environment

There are many ways to create techno, but the majority will depend upon the use of loop-based step sequencing as a compositional method. Techno musicians, or producers, rather than employing traditional compositional techniques, may work in an improvisatory fashion,[167] often treating the electronic music studio as one large instrument. The collection of devices found in a typical studio will include units that are capable of producing many different sounds and effects. Studio production equipment is generally synchronized using a hardware- or computer-based MIDI sequencer, enabling the producer to combine in one arrangement the sequenced output of many devices. A typical approach to using this type of technology compositionally is to overdub successive layers of material while continuously looping a single measure or sequence of measures. This process will usually continue until a suitable multi-track arrangement has been produced.[168]

Once a single loop-based arrangement has been generated, a producer may then focus on developing how the summing of the overdubbed parts will unfold in time, and what the final structure of the piece will be. Some producers achieve this by adding or removing layers of material at appropriate points in the mix. Quite often, this is achieved by physically manipulating a mixer, sequencer, effects, dynamic processing, equalization, and filtering while recording to a multi-track device. Other producers achieve similar results by using the automation features of computer-based digital audio workstations. Techno can consist of little more than cleverly programmed rhythmic sequences and looped motifs combined with signal processing of one variety or another, frequency filtering being a commonly used process. A more idiosyncratic approach to production is evident in the music of artists such as Twerk and Autechre, where aspects of algorithmic composition are employed in the generation of material.

Retro technology edit

 
The Roland TR-808 was, according to Derrick May, the preferred drum machine during the early years of techno.[169]

Instruments used by the original techno producers based in Detroit, many of which are highly sought after on the retro music technology market, include classic drum machines like the Roland TR-808 and TR-909, devices such as the Roland TB-303 bass line generator, and synthesizers such as the Roland SH-101, Kawai KC10, Yamaha DX7, and Yamaha DX100 (as heard on Derrick May's seminal 1987 techno release Nude Photo).[98] Much of the early music sequencing was executed via MIDI (but neither the TR-808 nor the TB-303 had MIDI, only DIN sync) using hardware sequencers such as the Korg SQD1 and Roland MC-50, and the limited amount of sampling that was featured in this early style was accomplished using an Akai S900.[170]

By the mid-1990s TR-808 and TR-909 drum machines had already achieved legendary status, a fact reflected in the prices sought for used devices. During the 1980s, the 808 became the staple beat machine in Hip hop production while the 909 found its home in House music and techno. It was "the pioneers of Detroit techno [who] were making the 909 the rhythmic basis of their sound, and setting the stage for the rise of Roland's vintage Rhythm Composer." In November 1995 the UK music technology magazine Sound on Sound noted:[171]

There can be few hi-tech instruments which still command a second-hand price only slightly lower than their original selling price 10 years after their launch. Roland's now near-legendary TR-909 is such an example—released in 1984 with a retail price of £999, they now fetch up to £900 on the second-hand market! The irony of the situation is that barely a year after its launch, the 909 was being 'chopped out' by hi-tech dealers for around £375, to make way for the then-new TR-707 and TR-727. Prices hit a new low around 1988, when you could often pick up a second-user 909 for under £200—and occasionally even under £100. Musicians all over the country are now garrotting themselves with MIDI leads as they remember that 909 they sneered at for £100—or worse, the one they sold for £50 (did you ever hear the one about the guy who gave away his TB-303 Bassline—now worth anything up to £900 from true loony collectors—because he couldn't sell it?)

By May 1996, Sound on Sound was reporting that the popularity of the 808 had started to decline, with the rarer TR-909 taking its place as "the dance floor drum machine to use." This is thought to have arisen for a number of reasons: the 909 gives more control over the drum sounds, has better programming and includes MIDI as standard. Sound on Sound reported that the 909 was selling for between £900 and £1100 and noted that the 808 was still collectible, but maximum prices had peaked at about £700 to £800.[172] Despite this fascination with retro music technology, according to Derrick May "there is no recipe, there is no keyboard or drum machine which makes the best techno, or whatever you want to call it. There never has been. It was down to the preferences of a few guys. The 808 was our preference. We were using Yamaha drum machines, different percussion machines, whatever."[169]

Emulation edit

In the latter half of the 1990s the demand for vintage drum machines and synthesizers motivated a number of software companies to produce computer-based emulators. One of the most notable was the ReBirth RB-338, produced by the Swedish company Propellerhead and originally released in May 1997.[173] Version one of the software featured two TB-303s and a TR-808 only, but the release of version two saw the inclusion of a TR-909. A Sound on Sound review of the RB-338 V2 in November 1998 noted that Rebirth had been called "the ultimate techno software package" and mentions that it was "a considerable software success story of 1997".[174] In America Keyboard Magazine asserted that ReBirth had "opened up a whole new paradigm: modeled analog synthesizer tones, percussion synthesis, pattern-based sequencing, all integrated in one piece of software".[175] Despite the success of ReBirth RB-338, it was officially taken out of production in September 2005. Propellerhead then made it freely available for download from a website called the "ReBirth Museum". The site also features extensive information about the software's history and development.[176]

In 2001, Propellerhead released Reason V1, a software-based electronic music studio, comprising a 14-input automated digital mixer, 99-note polyphonic 'analogue' synth, classic Roland-style drum machine, sample-playback unit, analogue-style step sequencer, loop player, multitrack sequencer, eight effects processors, and over 500 MB of synthesizer patches and samples. With this release Propellerhead were credited with "creating a buzz that only happens when a product has really tapped into the zeitgeist, and may just be the one that many [were] waiting for."[177] Reason is as of 2018 at version 10.[178]

Technological advances edit

During the mid to late 90s, as computer technology became more accessible and music software advanced, interacting with music production technology was possible using means that bore little relationship to traditional musical performance practices:[179] for instance, laptop performance (laptronica)[180] and live coding.[181][182] By the mid-2000s a number of software-based virtual studio environments had emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal.[183] Also during this period software versions of classic devices, that once existed exclusively in the hardware domain, became available for the first time. These software-based music production tools offered viable and cost-effective alternatives to typical hardware-based production studios, and thanks to continued advances in microprocessor technology, it became possible to create high quality music using little more than a single laptop computer. Using highly configurable software tools artists could also easily tailor their production sound by creating personalized software synthesizers, effects modules, and various composition environments. Some of the more popular programs for achieving such ends included commercial releases such as Max/Msp and Reaktor and freeware packages such as Pure Data, SuperCollider, and ChucK. In a certain sense this technological innovation lead to the resurgence of the DIY mentality that was once central to dance music culture.[184][185][186][187] In the 00s these advances democratized music creation and lead to a significant increase in the amount of home-produced music available to the general public via the internet.[188]

Notable techno venues edit

 
Berlin's Berghain techno club

In Germany, noted techno clubs of the 1990s include Tresor and E-Werk in Berlin, Omen and Dorian Gray in Frankfurt, Ultraschall and KW – Das Heizkraftwerk in Munich as well as Stammheim in Kassel.[189] In 2007, Berghain was cited as "possibly the current world capital of techno, much as E-Werk or Tresor were in their respective heydays".[190] In the 2010s, aside from Berlin, Germany continued to have a thriving techno scene with clubs such as Gewölbe in Cologne, Institut für Zukunft in Leipzig, MMA Club and Blitz Club in Munich, Die Rakete in Nuremberg and Robert Johnson in Offenbach am Main.[191][192]

In the United Kingdom, Glasgow's Sub Club has been associated with techno since the early 1990s and clubs such as London's Fabric and Egg London have gained notoriety for supporting techno.[193] In the 2010s, a techno scene also emerged in Georgia, with the Bassiani in Tbilisi being the most notable venue.[194]

See also edit

References edit

  1. ^ a b Carpenter, Susan (6 August 2002). "Electro-clash builds on '80s techno beat". The Spectator. Retrieved 25 July 2012.
  2. ^ According to Butler (2006:33) use of the term EDM "has become increasingly common among fans in recent years. During the 1980s, the most common catchall term for EDM was house music, while techno became more prevalent during the first half of the 1990s. As EDM has become more diverse, however, these terms have come to refer to specific genres. Another word, electronica, has been widely used in mainstream journalism since 1996, but most fans view this term with suspicion as a marketing label devised by the music industry".
  3. ^ Butler, M. (2006). Unlocking the groove : rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, page 78. "...Drawing on two of the most commonly used terms employed in this discourse, I will describe these categories as 'breakbeat-driven" and 'four-on-the-floor.'… The constant stream of steady bass-drum quarter notes that results is the distinguishing feature of four-on-the-floor genres, and the term continues to be used within EDM … The primary genres within this category are techno, house, and trance."
    • Brewster, B. & Broughton, F. (2014). Last night a DJ saved my life : the history of the disc jockey. New York: Grove Press, Chapter 7, paragraph 48 (EPUB."'No UFOs' was a dark challenge to the dancefloor built from growing layers of robotic bass, dissonant melody lines and barks of disembodied voices. it was music he'd originally intended for Cybotron, and in its theme of government control it continued Cybotron's doomy social commentary, but was noticeably faster-paced, with the electro breakbeat replaced by an industrial four-to-the-floor rhythm. This was the sound of Detroit's future.
    • Julien, O. & Levaux, C. (2018). Over and over:exploring repetition in popular music. New York, NY: Bloomsbury Academic, page 76."Most techno dance music is characterized by a post-disco, house-music-inflected, rhythm that is known as "four-on-the-floor:' in reference to the pulse that is explicitly emphasized by a kick drum on each beat (regular like the piston of a mechanical machine), while the snare is heard on the second and fourth beats, and an open hi-hat sound provides a sense of pull and push in between the beats. Music styles that fall within the rhythmic realm of the disco-continuum include not only Chicago house music and Detroit techno, but also hi-NRG and trance."
    • Webber, S. (2008). DJ skills : the essential guide to mixing and scratching. Oxford: Focal, page 253."A lot of dance music features what's called four on the floor, which means that the bass drum (also called the kick drum) Is playing quarter notes In 4/4 time. While four on the floor is common in most genres derived from house and techno, it is far from new."
    • Demers, J. (2010). Listening through the noise : the aesthetics of experimental electronic music. Oxford New York: Oxford University Press, page 97."These newest subgenres drew listeners in part because they provided a respite from relent less dancing but also because they fleshed out the sparseness of straight-ahead techno and house. In particular, dub techno replaced EDM's mechanization with a way of muffling the sense of time's passage, despite the persistence of the four-on-the-floor beat."
  4. ^ a b Brewster 2006:354
  5. ^ a b c d Reynolds 1999:71. Detroit's music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the Belleville Three decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit techno as a distinct genre.
  6. ^ Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4 ed.). Backbeat Books. p. 582. ISBN 0-87930-628-9. Retrieved 26 May 2011. Typically, that birth is traced to the early '80s and the emaciated inner-city of Detroit, where figures such as Juan Atkins, Derrick May, and Kevin Saunderson, among others, fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space-race electric funk of George Clinton, the optimistic futurism of Alvin Toffler's The Third Wave (from which the music derived its name), and the emerging electro sound elsewhere being explored by Soul Sonic Force, the Jonzun Crew, Man Parrish, "Pretty" Tony Butler, and LA's Wrecking Cru.
  7. ^ Rietveld 1998:125
  8. ^ Sicko 1999:28
  9. ^ Having grown up with the latter-day effects of Fordism, the Detroit techno musicians read futurologist Alvin Toffler's soundbite predictions for change – 'blip culture', 'the intelligent environment', 'the infosphere', 'de-massification of the media de-massifies our minds', 'the techno rebels', 'appropriated technologies' – accorded with some, though not all, of their own intuitions, Toop, D. (1995), Ocean of Sound, Serpent's Tail, (p. 215).
  10. ^ "Detroit techno". Keyboard Magazine (231). July 1995.
  11. ^ . 20 December 2014. Archived from the original on 20 December 2014. Retrieved 22 November 2019.
  12. ^ Critzon, Michael (17 September 2001). "Eat Static is bad stuff". Central Michigan Life. Archived from the original on 24 May 2016. Retrieved 12 August 2007.
  13. ^ Hamersly, Michael (23 March 2001). "Electronic Energy". The Miami Herald: 6G.
  14. ^ Schoemer, Karen (10 February 1997). "Electronic Eden". Newsweek. p. 60. Every Monday night, Natania goes to Koncrete Jungle, a dance party on new York's lower East Side that plays a hip, relatively new offshoot of dance music known as drum & bass—or, in a more general way, techno, a blanket term that describes music made on computers and electronic gadgets instead of conventional instruments, and performed by deejays instead of old-fashioned bands.
  15. ^ a b Kodwo 1998:100
  16. ^ a b c d e Trask, Simon (December 1988). . Music Technology Magazine. Archived from the original on March 15, 2008.
  17. ^ Sicko 1999:71
  18. ^ Silcott, M. (1999). Rave America: New school dancescapes. Toronto, ON: ECW Press.
  19. ^ a b Brewster 2006:349
  20. ^ "Derrick May on the roots of techno at RBMA Bass Camp Japan 2010". Red Bull Music Academy. YouTube. 20 September 2010. Archived from the original on 21 December 2021. Retrieved 23 July 2012.
  21. ^ Sicko 1999:49
  22. ^ Schaub, Christoph. "Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics".
  23. ^ . CNN. 13 February 2003. Archived from the original on 12 October 2007. Retrieved 11 August 2007.
  24. ^ Arnold, Jacob (17 October 1999). "A Brief History of Techno". Gridface.
  25. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music, Throbbing Words on Sound. Caipirinha Productions, Inc. pp. 108–121. ISBN 189102406X.
  26. ^ Brewster 2006:350
  27. ^ Reynolds 1999:16–17.
  28. ^ Sicko 1999:56–58
  29. ^ Snobs, Brats, Ciabattino, Rafael, and Charivari are mentioned in Generation Ecstasy (Reynolds 1999:15); Gables and Charivari are mentioned in Techno Rebels (Sicko 1999:35,51–52). Citations still needed for Comrades, Hardwear, Rumours, and Weekends.
  30. ^ Sicko 1999:33–42,54–59
  31. ^ Dr. Rebekah Farrugia paraphrasing Derrick May in a review of High Tech Soul: The Creation of Techno Music (Directed by Gary Bredow. Plexifilm DVD PLX-029, 2006). Published in Journal of the Society for American Music (2008) Volume 2, Number 2, pp. 291–293.
  32. ^ Keyboard Magazine Vol. 21, No.7 (issue #231, July 1995).
  33. ^ Sicko 1999:74
  34. ^ Cosgrove 1988b. Juan's first group Cybotron released several records at the height of the electro-funk boom in the early '80s, the most successful being a progressive homage to the city of Detroit, simply entitled 'Techno City'.
  35. ^ Sicko 1999:75. Adding to the impact of Enter, the single "Clear" made a huge splash and became Cybotron's biggest hit, especially after it was remixed by Jose "Animal" Diaz. "Clear" climbed the charts in Dallas, Houston, and Miami, and spent nine weeks on the Billboard Top Black Singles chart (as it was called then) in fall 1983, peaking at No. 52. "Clear" was a success.
  36. ^ "First academic conference on techno music and its African American origins". Retrieved 8 October 2019.
  37. ^ Cosgrove 1988b. "At the time, [Atkins] believed ["Techno City"] was a unique and adventurous piece of synthesizer funk, more in tune with Germany than the rest of black America, but on a dispiriting visit to New York, Juan heard Afrika Bambaataa's 'Planet Rock' and realized that his vision of a spartan electronic dance sound had been upstaged. He returned to Detroit and renewed his friendship with two younger students from Belleville High, Kevin Saunderson and Derrick May, and quietly over the next few years the three of them became the creative backbone of Detroit Techno. "Techno City" was released in 1984. Sicko 1999:73 clarifies Atkins was in New York in 1982, trying to get Cybotron's "Cosmic Cars" into the hands of radio DJs, when he first heard "Planet Rock"; so "Cosmic Cars", not "Techno City", is the unique and adventurous piece of synthesizer funk.
  38. ^ Sicko 1999:76
  39. ^ Sicko 2010:48–49
  40. ^ Butler 2006:43
  41. ^ Nelson 2001:154
  42. ^ Interview with Atkins and Mike Banks. Cox, T. (2008). "Model 500:Remake/remodel". Resident Advisor. In 1985 Juan Atkins released the first record on his fledgling label Metroplex, 'No UFO's', now widely regarded as Year Zero of the techno movement.
  43. ^ Interview. Osselaer, John (30 June 2000). . Spannered. Archived from the original on Apr 11, 2023. What do you consider to be the most important turning points in the history of Detroit techno?" "The release of Model 500 No UFOs.
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  46. ^ Harrison, Andrew (July 1992). "Derrick May". Select. London. pp. 80–83. "RIR singles like 'Strings of Life'...are among the few classics in the debased world of techno"
  47. ^ "Strings of Life" appears on compilations titled The Real Classics of Chicago House 2 (2003), Techno Muzik Classics (1999), House Classics Vol. One (1997), 100% House Classics Vol. 1 (1995), Classic House 2 (1994), Best of House Music Vol. 3 (1990), Best of Techno Vol. 4 (1994), House Nation – Classic House Anthems Vol. 1 (1994), and numerous other compilations with the words "techno" or "house" in their titles.
  48. ^ Lawrence, Tim (14 June 2005). . Archived from the original on 21 March 2008. Retrieved 3 April 2008.
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  51. ^ a b Cosgrove 1988a. [Says Juan Atkins, ] "Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it. As the price of sequencers and synthesizers has dropped, so the experimentation has become more intense. Basically, we're tired of hearing about being in love or falling out, tired of the R&B system, so a new progressive sound has emerged. We call it techno!"
  52. ^ a b c Cosgrove 1988a. Although the Detroit dance music has been casually lumped in with the jack virus of Chicago house, the young techno producers of the Seventh City claim to have their own sound, music that goes 'beyond the beat', creating a hybrid of post-punk, funkadelia and electro-disco...a mesmerizing underground of new dance which blends European industrial pop with black American garage funk...If the techno scene worships any gods, they are a pretty deranged deity, according to Derrick May. "The music is just like Detroit, a complete mistake. It's like George Clinton and Kraftwerk stuck in an elevator." ...And strange as it may seem, the techno scene looked to Europe, to Heaven 17, Depeche Mode and the Human League for its inspiration. ...[Says an Underground Resistance-related group] "Techno is all about simplicity. We don't want to compete with Jimmy Jam and Terry Lewis. Modern R&B has too many rules: big snare sounds, big bass and even bigger studio bills." Techno is probably the first form of contemporary black music which categorically breaks with the old heritage of soul music. Unlike Chicago House, which has a lingering obsession with seventies Philly, and unlike New York Hip Hop with its deconstructive attack on James Brown's back catalogue, Detroit Techno refutes the past. It may have a special place for Parliament and Pete Shelley, but it prefers tomorrow's technology to yesterday's heroes. Techno is a post-soul sound...For the young black underground in Detroit, emotion crumbles at the feet of technology. ...Despite Detroit's rich musical history, the young techno stars have little time for the golden era of Motown. Juan Atkins of Model 500 is convinced there is little to be gained from the motor-city legacy... "Say what you like about our music," says Blake Baxter, "but don't call us the new Motown...we're the second coming."
  53. ^ a b c Cosgrove 1988b. [Derrick May] sees the music as post-soul and believes it marks a deliberate break with previous traditions of black American music. "The music is just like Detroit" he claims, "a complete mistake, it's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."
  54. ^ Rietveld 1998:124–127
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  58. ^ . Mixmag. 1997. Archived from the original on 14 February 2004. Retrieved 25 July 2012.
  59. ^ Fikentscher (2000:5), in discussing the definition of underground dance music as it relates to post-disco music in America, states that: "The prefix 'underground' does not merely serve to explain that the associated type of music – and its cultural context – are familiar only to a small number of informed persons. Underground also points to the sociological function of the music, framing it as one type of music that in order to have meaning and continuity is kept away, to large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral and aesthetic codes and values." Fikentscher, K. (2000), You Better Work!: Underground Dance Music in New York, Wesleyan University Press, Hanover, NH.
  60. ^ Rietveld 1998:54–59
  61. ^ Brewster 2006:398–443
  62. ^ Brewster 2006:419. I was on a mission because most people hated house music and it was all rare groove and hip hop...I'd play Strings of Life at the Mud Club and clear the floor. Three weeks later you could see pockets of people come onto the floor, dancing to it and going crazy – and this was without ecstasy – Mark Moore commenting on the initially slow response to House music in 1987.
  63. ^ Cosgrove 1988a. Although it can now be heard in Detroit's leading clubs, the local area has shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World (New York), The Hacienda (Manchester), Rock City (Nottingham) and Downbeat (Leeds) where the techno sound has found most support. Ironically, the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its name with one of Britain's oldest new romantic groups.
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  • Nye, S "Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno," in Journal of Popular Music Studies 25, no. 2(2013): 154–84.
  • Pesch, M. (Author), Weisbeck, M. (Editor), Techno Style: The Album Cover Art, Edition Olms; 5Rev Ed edition, 1998 (ISBN 978-3283002909).
  • Rietveld, H.C., This is Our House: House Music, Cultural Spaces and Technologies, Ashgate Publishing, Aldershot, 1998 (ISBN 978-1857422429).
  • Reynolds, S., Energy Flash: a Journey Through Rave Music and Dance Culture, Pan Macmillan, 1998 (ISBN 978-0330350563).
  • Reynolds, S., Generation Ecstasy: Into the World of Techno and Rave Culture, Routledge, New York 1999 (ISBN 978-0415923736); Soft Skull Press, 2012 (ISBN 978-1593764074).[1]
  • Reynolds, S., Energy Flash: a Journey Through Rave Music and Dance Culture, Faber and Faber, 2013 (ISBN 978-0571289134).[2]
  • Savage, J., The Hacienda Must Be Built, International Music Publications, 1992 (ISBN 978-0863598579).
  • Sicko, D., Techno Rebels: The Renegades of Electronic Funk, Billboard Books, 1999 (ISBN 978-0823084289).
  • Sicko, D., Techno Rebels: The Renegades of Electronic Funk, 2nd ed., Wayne State University Press, 2010 (ISBN 978-0814334386).
  • St. John, G.(ed.). Rave Culture and Religion, New York: Routledge, 2004. (ISBN 978-0415314497).
  • St. John, G.(ed.), FreeNRG: Notes From the Edge of the Dance Floor, Common Ground, Melbourne, 2001 (ISBN 978-1863350846).
  • St John, G. Technomad: Global Raving Countercultures. London: Equinox. 2009. ISBN 978-1-84553-626-8.
  • Toop, D., Ocean of Sound, Serpent's Tail, 2001 [new edition] (ISBN 978-1852427436).
  • Watten, B., The Constructivist Moment: From Material Text to Cultural Poetics, Wesleyan University Press, 2003 (ISBN 978-0819566102).

Filmography edit

  • High Tech Soul – Catalog No.: PLX-029; Label: Plexifilm; Released: 19 September 2006; Director: Gary Bredow; Length: 64 minutes.
  • Paris/Berlin: 20 Years Of Underground Techno – Label: Les Films du Garage; Released: 2012; Director: Amélie Ravalec; Length: 52 minutes.
  • We Call It Techno! – A documentary about Germany's early Techno scene and culture – Label: Sense Music & Media, Berlin, DE; Released: June 2008; Directors: Maren Sextro & Holger Wick.
  • Tresor Berlin: The Vault and the Electronic Frontier – Label: Pyramids of London Films; Released 2004; Director: Michael Andrawis; Length: 62 minutes
  • Technomania – Released: 1996 (screened at , an exhibition held at Louisiana Museum of Modern Art, Denmark, between 15 May and 8 September 1996); Director: Franz A. Pandal; Length: 52 minutes.
  • Universal Techno on YouTube – Label: Les Films à Lou; Released: 1996; Director: Dominique Deluze; Length: 63 minutes.

External links edit

  • Techno Live Sets – The #1 resource for Techno sets
  • "From the Autobahn to I-94: The Origins of Detroit Techno and Chicago House" – reminiscences in 2005 by techno and house innovators
  • – online historical documentary produced by the Australian Broadcasting Corporation (ABC)
  • Techno from past years – Oldie but goldie classic techno sets
  1. ^ Generation Ecstasy is based on Energy Flash, but is a unique edition significantly rewritten for the North American market. Its copyright date is 1998, but it was first published July 1999.
  2. ^ This 2013 edition is expanded to include coverage of dubstep and the EDM boom in North America.

January 19, 2024
techno, confused, with, free, tekno, music, youtuber, blade, marvel, character, fixer, marvel, comics, genre, electronic, dance, music, which, generally, produced, continuous, with, tempo, often, varying, between, beats, minute, central, rhythm, typically, com. Not to be confused with free tekno music For the YouTuber see Technoblade For the Marvel character see Fixer Marvel Comics Techno is a genre of electronic dance music 2 EDM which is generally produced for use in a continuous DJ set with tempo often varying between 120 and 150 beats per minute bpm The central rhythm is typically in common time 4 4 and often characterized by a repetitive four on the floor beat 3 Artists may use electronic instruments such as drum machines sequencers and synthesizers as well as digital audio workstations Drum machines from the 1980s such as Roland s TR 808 and TR 909 are highly prized and software emulations of such retro instruments are popular TechnoStylistic originsHouseelectrosynth popEurodiscoItalo discopost discoHi NRGChicago houseindustrialEBMkrautrockCultural originsMid 1980s United States Detroit West Germany Frankfurt Berlin Derivative formsAlternative dancetranceSubgenresAcid technoambient technoBirmingham soundbleep technoDetroit technodub technohardcore technoindustrial technominimal technoFusion genresAfro techelectroclash 1 EurodanceghettotechhardvapourIDMkuduroschaffeltechsteptechstyletech housetoytown technoRegional scenesDetroitMexicoNorth BrazilOther topicsElectronic musical instrumentscomputer musiclist of electronic music record labelsravesfree partiesteknivalsMuch of the instrumentation in techno emphasizes the role of rhythm over other musical parameters Techno tracks mainly progress over manipulation of timbral characteristics of synthesizer presets and unlike forms of EDM that tend to be produced with synthesizer keyboards techno does not always strictly adhere to the harmonic practice of Western music and such structures are often ignored in favor of timbral manipulation alone Another distinguishing feature of techno music and techno aesthetic is the general embracement of creative use of music production technology Use of the term techno to refer to a type of electronic music originated in Germany in the early 1980s In 1988 following the UK release of the compilation Techno The New Dance Sound of Detroit the term came to be associated with a form of EDM produced in Detroit 4 5 Detroit techno resulted from the melding of synth pop by artists such as Kraftwerk Giorgio Moroder and Yellow Magic Orchestra with African American styles such as house electro and funk 6 Added to this is the influence of futuristic and science fiction themes 7 relevant to life in contemporary American society with Alvin Toffler s book The Third Wave a notable point of reference 8 9 The music produced in the mid to late 1980s by Juan Atkins Derrick May and Kevin Saunderson collectively known as The Belleville Three along with Eddie Fowlkes Blake Baxter James Pennington and others is viewed as the first wave of techno from Detroit 10 After the success of house music in a number of European countries techno grew in popularity in the UK Germany Belgium and the Netherlands In Europe regional variants quickly evolved and by the early 1990s techno subgenres such as acid hardcore bleep ambient and dub techno had developed Music journalists and fans of techno are generally selective in their use of the term so a clear distinction can be made between sometimes related but often qualitatively different styles such as tech house and trance 11 12 13 14 Contents 1 Detroit techno 1 1 School days 1 2 Juan Atkins 1 3 Chicago 1 4 Detroit sound 1 5 Acid house 1 6 The New Dance Sound of Detroit 1 7 Music Institute 2 German techno 2 1 Frankfurt tape scene 2 2 Influence of Chicago and Detroit 2 3 Growth of German scene 2 4 Tekkno versus techno 3 Developments 3 1 American exodus 3 1 1 A Techno Alliance 3 2 Minimal techno 3 3 Jazz influences 3 4 Intelligent techno 3 5 Free techno 3 6 Divergence 3 7 Commercial exposure 4 Antecedents 4 1 Early use of the term Techno 4 2 Proto techno 4 3 Prehistory 5 Music production practice 5 1 Stylistic considerations 5 2 Compositional techniques 5 3 Retro technology 5 3 1 Emulation 5 4 Technological advances 6 Notable techno venues 7 See also 8 References 9 Bibliography 10 Filmography 11 External linksDetroit techno editMain article Detroit techno See also Electro music House music Italo disco Kraftwerk and Synthpop In exploring Detroit techno s origins writer Kodwo Eshun maintains that Kraftwerk are to techno what Muddy Waters is to the Rolling Stones the authentic the origin the real 15 Juan Atkins has acknowledged that he had an early enthusiasm for Kraftwerk and Giorgio Moroder particularly Moroder s work with Donna Summer and the producer s own album E MC2 Atkins also mentions that around 1980 I had a tape of nothing but Kraftwerk Telex Devo Giorgio Moroder and Gary Numan and I d ride around in my car playing it 16 Regarding his initial impression of Kraftwerk Atkins notes that they were clean and precise relative to the weird UFO sounds featured in his seemingly psychedelic music 17 Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that it was just classy and clean and to us it was beautiful like outer space Living around Detroit there was so little beauty everything is an ugly mess in Detroit and so we were attracted to this music It like ignited our imagination 18 May has commented that he considered his music a direct continuation of the European synthesizer tradition 19 He also identified Japanese synthpop act Yellow Magic Orchestra particularly member Ryuichi Sakamoto and British band Ultravox as influences along with Kraftwerk 20 YMO s song Technopolis 1979 a tribute to Tokyo as an electronic mecca is considered an interesting contribution to the development of Detroit techno foreshadowing concepts that Atkins and Davis would later explore with Cybotron 21 Kevin Saunderson has also acknowledged the influence of Europe but he claims to have been more inspired by the idea of making music with electronic equipment I was more infatuated with the idea that I can do this all myself 19 These early Detroit techno artists additionally employed science fiction imagery to articulate their visions of a transformed society 22 School days edit Prior to achieving notoriety Atkins Saunderson May and Fowlkes shared common interests as budding musicians mix tape traders and aspiring DJs 23 They also found musical inspiration via the Midnight Funk Association an eclectic five hour late night radio program hosted on various Detroit radio stations including WCHB WGPR and WJLB FM from 1977 through the mid 1980s by DJ Charles The Electrifying Mojo Johnson 24 Mojo s show featured electronic music by artists such as Giorgio Moroder Kraftwerk Yellow Magic Orchestra and Tangerine Dream alongside the funk sounds of acts such as Parliament Funkadelic and dance oriented new wave music by bands like Devo and the B 52 s 25 Atkins has noted He Mojo played all the Parliament and Funkadelic that anybody ever wanted to hear Those two groups were really big in Detroit at the time In fact they were one of the main reasons why disco didn t really grab hold in Detroit in 79 Mojo used to play a lot of funk just to be different from all the other stations that had gone over to disco When Knee Deep came out that just put the last nail in the coffin of disco music 16 Despite the short lived disco boom in Detroit it had the effect of inspiring many individuals to take up mixing Juan Atkins among them Subsequently Atkins taught May how to mix records and in 1981 Magic Juan Derrick Mayday in conjunction with three other DJ s one of whom was Eddie Flashin Fowlkes launched themselves as a party crew called Deep Space Soundworks 26 27 also referred to as Deep Space 28 In 1980 or 1981 they met with Mojo and proposed that they provide mixes for his show which they did end up doing the following year 16 During the late 1970s and early 1980s high school clubs such as Brats Charivari Ciabattino Comrades Gables Hardwear Rafael Rumours Snobs and Weekends 29 allowed the young promoters to develop and nurture a local dance music scene As the local scene grew in popularity DJs began to band together to market their mixing skills and sound systems to clubs that were hoping to attract larger audiences Local church activity centers vacant warehouses offices and YMCA auditoriums were the early locations where the musical form was nurtured 30 Juan Atkins edit Main articles Juan Atkins and Cybotron American band Of the four individuals responsible for establishing techno as a genre in its own right Juan Atkins is widely cited as The Originator 31 In 1995 the American music technology publication Keyboard Magazine honored him as one of 12 Who Count in the history of keyboard music 32 In the early 1980s Atkins began recording with musical partner Richard Davis and later with a third member Jon 5 as Cybotron This trio released a number of rock and electro inspired tunes 33 the most successful of which were Clear 1983 and its moodier followup Techno City 1984 34 35 Atkins used the term techno to describe Cybotron s music taking inspiration from Futurist author Alvin Toffler the original source for words such as cybotron and metroplex Atkins has described earlier synthesizer based acts like Kraftwerk as techno although many would consider both Kraftwerk s and Juan s Cybotron outputs as electro 36 Atkins viewed Cybotron s Cosmic Cars 1982 as unique Germanic synthesized funk but he later heard Afrika Bambaataa s Planet Rock 1982 and considered it to be a superior example of the music he envisioned Inspired he resolved to continue experimenting and he encouraged Saunderson and May to do likewise 37 Eventually Atkins started producing his own music under the pseudonym Model 500 and in 1985 he established the record label Metroplex 38 The same year saw an important turning point for the Detroit scene with the release of Model 500 s No UFO s a seminal work that is generally considered the first techno production 39 40 41 42 43 Of this time Atkins has said When I started Metroplex around February or March of 85 and released No UFO s I thought I was just going to make my money back on it but I wound up selling between 10 000 and 15 000 copies I had no idea that my record would happen in Chicago Derrick s parents had moved there and he was making regular trips between Detroit and Chicago So when I came out with No UFO s he took copies out to Chicago and gave them to some DJs and it just happened 16 Chicago edit See also Chicago house and House music The music s producers especially May and Saunderson admit to having been fascinated by the Chicago club scene and influenced by house in particular 44 45 May s 1987 hit Strings of Life released under the alias Rhythim Is Rhythim is considered a classic in both the house and techno genres 45 46 47 Juan Atkins also believes that the first acid house producers seeking to distance house music from disco emulated the techno sound 48 Atkins also suggests that the Chicago house sound developed as a result of Frankie Knuckles using a drum machine he bought from Derrick May 49 He claims Derrick sold Chicago DJ Frankie Knuckles a TR909 drum machine This was back when the Powerplant was open in Chicago but before any of the Chicago DJs were making records They were all into playing Italian imports No UFOs was the only U S based independent record that they played So Frankie Knuckles started using the 909 at his shows at the Powerplant Boss had just brought out their little sampling footpedal and somebody took one along there Somebody was on the mic and they sampled that and played it over the drumtrack pattern Having got the drum machine and the sampler they could make their own tunes to play at parties One thing just led to another and Chip E used the 909 to make his own record and from then on all these DJs in Chicago borrowed that 909 to come out with their own records 16 In the UK a club following for house music grew steadily from 1985 with interest sustained by scenes in London Manchester Nottingham and later Sheffield and Leeds The DJs thought to be responsible for house s early UK success include Mike Pickering Mark Moore Colin Faver and Graeme Park DJ 50 Detroit sound edit nbsp The Belleville Three performing at the Detroit Masonic Temple in 2017 From left to right Juan Atkins Kevin Saunderson and Derrick MayThe early producers enabled by the increasing affordability of sequencers and synthesizers merged a European synthpop aesthetic with aspects of soul funk disco and electro pushing EDM into uncharted terrain They deliberately rejected the Motown legacy and traditional formulas of R amp B and soul and instead embraced technological experimentation 51 52 53 54 Within the last 5 years or so the Detroit underground has been experimenting with technology stretching it rather than simply using it As the price of sequencers and synthesizers has dropped so the experimentation has become more intense Basically we re tired of hearing about being in love or falling out tired of the R amp B system so a new progressive sound has emerged We call it techno Juan Atkins 1988 51 The resulting Detroit sound was interpreted by Derrick May and one journalist in 1988 as a post soul sound with no debt to Motown 52 53 but by another journalist a decade later as soulful grooves melding the beat centric styles of Motown with the music technology of the time 55 May described the sound of techno as something that is like Detroit a complete mistake It s like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company 52 53 Juan Atkins has stated that it is music that sounds like technology and not technology that sounds like music meaning that most of the music you listen to is made with technology whether you know it or not But with techno music you know it 56 One of the first Detroit productions to receive wider attention was Derrick May s Strings of Life 1987 which together with May s previous release Nude Photo 1987 helped raise techno s profile in Europe especially the UK and Germany during the 1987 1988 house music boom see Second Summer of Love 57 It became May s best known track which according to Frankie Knuckles just exploded It was like something you can t imagine the kind of power and energy people got off that record when it was first heard Mike Dunn says he has no idea how people can accept a record that doesn t have a bassline 58 Acid house edit See also Acid house Rave and Second Summer of Love nbsp Roland TB 303 The bass line synthesizer that was used prominently in acid house By 1988 house music had exploded in the UK and acid house was increasingly popular 50 There was also a long established warehouse party subculture based around the sound system scene In 1988 the music played at warehouse parties was predominantly house That same year the Balearic party vibe associated with Ibiza based DJ Alfredo Fiorito was transported to London when Danny Rampling and Paul Oakenfold opened the clubs Shoom and Spectrum respectively Both night spots quickly became synonymous with acid house and it was during this period that the use of MDMA as a party drug started to gain prominence Other important UK clubs at this time included Back to Basics in Leeds Sheffield s Leadmill and Music Factory and in Manchester The Hacienda where Mike Pickering and Graeme Park s Friday night spot Nude was an important proving ground for American underground 59 dance music Acid house party fever escalated in London and Manchester and it quickly became a cultural phenomenon MDMA fueled club goers faced with 2 A M closing hours sought refuge in the warehouse party scene that ran all night To escape the attention of the press and the authorities this after hours activity quickly went underground Within a year however up to 10 000 people at a time were attending the first commercially organized mass parties called raves and a media storm ensued 60 The success of house and acid house paved the way for wider acceptance of the Detroit sound and vice versa techno was initially supported by a handful of house music clubs in Chicago New York and Northern England with London clubs catching up later 61 but in 1987 it was Strings of Life which eased London club goers into acceptance of house according to DJ Mark Moore 62 63 The New Dance Sound of Detroit edit Main article Techno The New Dance Sound of Detroit The mid 1988 UK release of Techno The New Dance Sound of Detroit 64 65 an album compiled by ex Northern Soul DJ and Kool Kat Records boss Neil Rushton at the time an A amp R scout for Virgin s 10 Records imprint and Derrick May introduced of the word techno to UK audiences 4 5 Although the compilation put techno into the lexicon of music journalism in the UK the music was initially viewed as Detroit s interpretation of Chicago house rather than as a separate genre 5 66 The compilation s working title had been The House Sound of Detroit until the addition of Atkins song Techno Music prompted reconsideration 64 67 Rushton was later quoted as saying he Atkins May and Saunderson came up with the compilation s final name together and that the Belleville Three voted down calling the music some kind of regional brand of house they instead favored a term they were already using techno 5 67 68 Derrick May views this as one of his busiest times and recalls that it was a period where hewas working with Carl Craig helping Kevin helping Juan trying to put Neil Rushton in the right position to meet everybody trying to get Blake Baxter endorsed so that everyone liked him trying to convince Shake Anthony Shakir that he should be more assertive and keep making music as well as do the Mayday mix for the show Street Beat on Detroit s WJLB radio station and run Transmat records 64 Commercially the release did not fare as well and failed to recoup but Inner City s production Big Fun 1988 a track that was almost not included on the compilation became a crossover hit in fall 1988 69 The record was also responsible for bringing industry attention to May Atkins and Saunderson which led to discussions with ZTT records about forming a techno supergroup called Intellex But when the group were on the verge of finalising their contract May allegedly refused to agree to Top of the Pops appearances and negotiations collapsed 70 According to May ZTT label boss Trevor Horn had envisaged that the trio would be marketed as a black Petshop Boys 71 Despite Virgin Records disappointment with the poor sales of Rushton s compilation 72 the record was successful in establishing an identity for techno and was instrumental in creating a platform in Europe for both the music and its producers 73 Ultimately the release served to distinguish the Detroit sound from Chicago house and other forms of underground dance music that were emerging during the rave era of the late 1980s and early 1990s a period during which techno became more adventurous and distinct 74 75 Music Institute edit In mid 1988 developments in the Detroit scene led to the opening of a nightclub called the Music Institute MI located at 1315 Broadway in downtown Detroit The venue was secured by George Baker and Alton Miller with Darryl Wynn and Derrick May participating as Friday night DJs and Baker and Chez Damier playing to a mostly gay crowd on Saturday nights The club closed on 24 November 1989 with Derrick May playing Strings of Life along with a recording of clock tower bells 76 May explains It all happened at the right time by mistake and it didn t last because it wasn t supposed to last Our careers took off right around the time we the MI had to close and maybe it was the best thing I think we were peaking we were so full of energy and we didn t know who we were or how to realize our potential We had no inhibitions no standards we just did it That s why it came off so fresh and innovative and that s why we got the best of the best 76 Though short lived MI was known internationally for its all night sets its sparse white rooms and its juice bar stocked with smart drinks the Institute never served liquor The MI notes Dan Sicko along with Detroit s early techno pioneers helped give life to one of the city s important musical subcultures one that was slowly growing into an international scene 76 German techno editSee also Tresor club Love Parade Hardcore techno Gabber Electronic body music and Trance music nbsp Doorway to Dorian Gray in Frankfurt venue of the dance event Technoclub by Talla 2XLCIn 1982 while working at Frankfurt s City Music record store DJ Talla 2XLC started to use the term techno to categorize artists such as Depeche Mode Front 242 Heaven 17 Kraftwerk and New Order with the word used as shorthand for technologically created dance music Talla s categorization became a point of reference for other DJs including Sven Vath 77 78 Talla further popularized the term in Germany when he founded Technoclub at Frankfurt s No Name Club in 1984 which later moved to the Dorian Gray club in 1987 77 78 Talla s club spot served as the hub for the regional EBM and electronic music scene and according to Jurgen Laarmann of Frontpage magazine it had historical merit in being the first club in Germany to play almost exclusively EDM 79 Frankfurt tape scene edit Inspired by Talla s music selection in the early 80s several young artists from Frankfurt started to experiment on cassette tapes with electronic music coming from the City Music record store mixing the latest catalogue with additional electronic sounds and pitched BPM This became known as the Frankfurt tape scene The Frankfurt tape scene evolved around the early and experimental work done by the likes of Tobias Freund Uwe Schmidt Lars Muller and Martin Schopf 80 Some of the work done by Andreas Tomalla Markus Nikolai and Thomas Franzmann evolved in collaborative work under the Bigod 20 collective While this early work was strongly characterized as experimental electronic music fused with strong EBM krautrock synthpop and technopop influences the later work during the mid and late 80 s clearly transitioned to a clear techno sound Influence of Chicago and Detroit edit By 1987 a German party scene based around the Chicago sound was well established citation needed In the late 1980s acid house also established itself in West Germany as a new trend in clubs and discotheques 81 better source needed In 1988 the Ufo opened in West Berlin an illegal venue for acid house parties which existed until 1990 82 unreliable source In Munich at this time the Negerhalle 1983 1989 and the ETA Halle established themselves as the first acid house clubs in temporarily used dilapidated industrial halls marking the beginning of the so called hall culture in Germany 83 84 In July 1989 Dr Motte and Danielle de Picciotto organized the first Love Parade in West Berlin just a few months before the Fall of the Berlin Wall 85 Growth of German scene edit nbsp The original Tresor club 1991 2005 Following the fall of the Berlin Wall on 9 November 1989 and the German reunification in October 1990 free underground techno parties mushroomed in East Berlin 82 East German DJ Paul van Dyk has remarked that techno was a major force in reestablishing social connections between East and West Germany during the unification period 86 In the now reunified Berlin several locations opened near the foundations of the Berlin Wall in the former eastern part of the city from 1991 onwards the Tresor est 1991 the Planet 1991 1993 the Bunker 1992 1996 and the E Werk 1993 1997 87 88 It was in Tresor at this time that a trend in paramilitary clothing was established amongst the techno fraternity by DJ Tanith 89 possibly as an expression of a commitment to the underground aesthetic of the music or perhaps influenced by UR s paramilitary posturing 90 In the same period German DJs began intensifying the speed and abrasiveness of the sound as an acid infused techno began transmuting into hardcore 91 DJ Tanith commented at the time that Berlin was always hardcore hardcore hippie hardcore punk and now we have a very hardcore house sound 87 This emerging sound is thought to have been influenced by Dutch gabber and Belgian hardcore styles that were in their own perverse way paying homage to Underground Resistance and Richie Hawtin s Plus 8 Records Other influences on the development of this style were European electronic body music EBM groups of the mid 1980s such as DAF Front 242 and Nitzer Ebb 92 nbsp Tanith in 1994Changes were also taking place in Frankfurt during the same period but it did not share the egalitarian approach found in the Berlin party scene It was instead very much centered around discotheques and existing arrangements with various club owners In 1988 after the Omen opened the Frankfurt dance music scene was allegedly dominated by the club s management and they made it difficult for other promoters to get a start By the early 1990s Sven Vath had become perhaps the first DJ in Germany to be worshipped like a rock star He performed center stage with his fans facing him and as co owner of Omen he is believed to have been the first techno DJ to run his own club 79 One of the few real alternatives then was The Bruckenkopf in Mainz underneath a Rhine bridge a venue that offered a non commercial alternative to Frankfurt s discotheque based clubs Other notable underground parties were those run by Force Inc Music Works and Ata amp Heiko from Playhouse records Ongaku Musik By 1992 DJ Dag amp Torsten Fenslau were running a Sunday morning session at Dorian Gray a plush discotheque near the Frankfurt airport They initially played a mix of different styles including Belgian new beat Deep House Chicago House and synthpop such as Kraftwerk and Yello and it was out of this blend of styles that the Frankfurt trance scene is believed to have emerged 79 In 1990 the Babalu Club the first afterhours techno club in Germany opened in Munich and was a place for the formation of the southern German techno scene where protagonists such as DJ Hell Monika Kruse Tom Novy or Woody came together 83 84 93 In 1993 94 rave became a mainstream music phenomenon in Germany seeing with it a return to melody New Age elements insistently kitsch harmonies and timbres This undermining of the German underground sound lead to the consolidation of a German rave establishment spearheaded by the party organisation Mayday with its record label Low Spirit WestBam Marusha and a music channel called VIVA At this time the German popular music charts were riddled with Low Spirit pop Tekno German folk music reinterpretations of tunes such as Somewhere Over The Rainbow and Tears Don t Lie many of which became hits At the same time in Frankfurt a supposed alternative was a music characterized by Simon Reynolds as moribund middlebrow Electro Trance music as represented by Frankfurt s own Sven Vath and his Harthouse label 94 Illegal raves however regained importance in the German techno scene as a countermovement to the commercial mass raves in the mid 1990s 95 Tekkno versus techno edit In Germany fans started to refer to the harder techno sound emerging in the early 1990s as Tekkno or Brett 82 This alternative spelling with varying numbers of ks began as a tongue in cheek attempt to emphasize the music s hardness but by the mid 1990s it came to be associated with a controversial point of view that the music was and perhaps always had been wholly separate from Detroit s techno deriving instead from a 1980s EBM oriented club scene cultivated in part by DJ musician Talla 2XLC in Frankfurt 69 At some point tension over who defines techno arose between scenes in Frankfurt and Berlin DJ Tanith has expressed that Techno as a term already existed in Germany but was to a large extent undefined Dimitri Hegemann has stated that the Frankfurt definition of techno associated with Talla s Technoclub differed from that used in Berlin 79 Frankfurt s Armin Johnert viewed techno as having its roots in acts such DAF Cabaret Voltaire and Suicide but a younger generation of club goers had a perception of the older EBM and Industrial as handed down and outdated The Berlin scene offered an alternative and many began embracing an imported sound that was being referred to as Techno House The move away from EBM had started in Berlin when acid house became popular thanks to Monika Dietl s radio show on SFB 4 Tanith distinguished acid based dance music from the earlier approaches whether it be DAF or Nitzer Ebb because the latter was aggressive he felt that it epitomized being against something but of acid house he said it s electronic it s fun it s nice 79 By Spring 1990 Tanith along with Wolle XDP an East Berlin party organizer responsible for the X tasy Dance Project were organizing the first large scale rave events in Germany This development would lead to a permanent move away from the sound associated with Techno House and toward a hard edged mix of music that came to define Tanith and Wolle s Tekknozid parties According to Wolle it was an out and out rejection of disco values instead they created a sound storm and encouraged a form of dance floor socialism where the DJ was not placed in the middle and you lose yourself in light and sound 79 Developments editAs the techno sound evolved in the late 1980s and early 1990s it also diverged to such an extent that a wide spectrum of stylistically distinct music was being referred to as techno This ranged from relatively pop oriented acts such as Moby 96 to the distinctly anti commercial sentiments 97 of Underground Resistance Derrick May s experimentation on works such as Beyond the Dance 1989 and The Beginning 1990 were credited with taking techno in dozens of new directions at once and having the kind of expansive impact John Coltrane had on Jazz 98 The Birmingham based label Network Records label was instrumental in introducing Detroit techno to British audiences 99 By the early 1990s the original techno sound had garnered a large underground following in the United Kingdom Germany the Netherlands and Belgium The growth of techno s popularity in Europe between 1988 and 1992 was largely due to the emergence of the rave scene and a thriving club culture 74 American exodus edit In the United States during the early 90s apart from regional scenes in Detroit New York City Chicago and Orlando interest in techno was limited Many Detroit based producers frustrated by the lack of opportunity in the US looked to Europe for a future livelihood 100 This first wave of Detroit expatriates was soon joined by a so called second wave that included Carl Craig Octave One Jay Denham Kenny Larkin Stacey Pullen and UR s Jeff Mills Mike Banks and Robert Hood In the same period close to Detroit Windsor Ontario Richie Hawtin with business partner John Acquaviva launched the techno imprint Plus 8 Records A number of New York producers also made an impression in Europe at this time most notably Frankie Bones Lenny Dee and Joey Beltram 101 These developments in American produced techno between 1990 and 1992 fueled the expansion and eventual divergence of techno in Europe particularly in Germany 102 103 In Berlin the club Tresor which had opened in 1991 for a time was the standard bearer for techno and played host to many of the leading Detroit producers some of whom had relocated to Berlin 104 The club brought new life to the careers of Detroit artists such as Santonio Echols Eddie Fowlkes and Blake Baxter who played there alongside established Berlin DJs such as Dr Motte and Tanith According to Dan Sicko Germany s growing scene in the early 1990s was the beginning of techno s decentralization and techno began to create its second logical center in Berlin At this time the now reunified Berlin also began to regain its position as the musical capital of Germany 105 Although eclipsed by Germany Belgium was another focus of second wave techno in this time period The Ghent based label R amp S Records embraced harder edged techno by teenage prodigies like Beltram and C J Bolland releasing tough metallic tracks with harsh discordant synth lines that sounded like distressed Hoovers according to one music journalist 106 In the United Kingdom Sub Club which opened in Glasgow in 1987 107 better source needed and Trade which opened its doors to Londoners in 1990 were venues which helped bring techno into the country citation needed Trade has been referred to as the original all night bender 108 A Techno Alliance edit In 1993 the German techno label Tresor Records released the compilation album Tresor II Berlin amp Detroit A Techno Alliance 109 a testament to the influence of the Detroit sound upon the German techno scene and a celebration of a mutual admiration pact between the two cities 103 As the mid 1990s approached Berlin was becoming a haven for Detroit producers Jeff Mills and Blake Baxter even resided there for a time In the same period with the assistance of Tresor Underground Resistance released their X 101 X 102 X103 album series Juan Atkins collaborated with 3MB s Thomas Fehlmann and Moritz Von Oswald 103 and Tresor affiliated label Basic Channel had its releases mastered by Detroit s National Sound Corporation the main mastering house for the entire Detroit dance music scene In a sense popular electronic music had come full circle returning to Germany home of a primary influence on the EDM of the 1980s Dusseldorf s Kraftwerk The dance sounds of Chicago and Detroit also had another German connection as it was in Munich that Giorgio Moroder and Pete Bellotte first produced the synthesizer generated Eurodisco sound including the seminal four on the floor track I Feel Love 110 82 Minimal techno edit Main article Minimal techno nbsp Robert Hood techno minimalist in 2009As techno continued to transmute a number of Detroit producers began to question the trajectory the music was taking One response came in the form of so called minimal techno a term producer Daniel Bell found difficult to accept finding the term minimalism in the artistic sense of the word too arty 111 It is thought that Robert Hood a Detroit based producer and one time member of UR is largely responsible for ushering in the minimal strain of techno 112 Hood describes the situation in the early 1990s as one where techno had become too ravey with increasing tempos the emergence of gabber and related trends straying far from the social commentary and soul infused sound of original Detroit techno In response Hood and others sought to emphasize a single element of the Detroit aesthetic interpreting techno with a basic stripped down raw sound Just drums basslines and funky grooves and only what s essential Only what is essential to make people move 113 Hood explains I think Dan Bell and I both realized that something was missing an element in what we both know as techno It sounded great from a production point of standpoint but there was a jack element in the old structure People would complain that there s no funk no feeling in techno anymore and the easy escape is to put a vocalist and some piano on top to fill the emotional gap I thought it was time for a return to the original underground 114 Jazz influences edit See also Jazz Jazz fusion and Musical improvisation Some techno has also been influenced by or directly infused with elements of jazz 115 This led to increased sophistication in the use of both rhythm and harmony in a number of techno productions 116 Manchester UK based techno act 808 State helped fuel this development with tracks such as Pacific State 117 and Cobra Bora in 1989 118 Detroit producer Mike Banks was heavily influenced by jazz as demonstrated on the influential Underground Resistance release Nation 2 Nation 1991 119 By 1993 Detroit acts such as Model 500 and UR had made explicit references to the genre with the tracks Jazz Is The Teacher 1993 106 and Hi Tech Jazz 1993 the latter being part of a larger body of work and group called Galaxy 2 Galaxy a self described jazz project based on Kraftwerk s man machine doctrine 119 120 This lead was followed by a number of techno producers in the UK who were influenced by both jazz and UR Dave Angel s Seas of Tranquility EP 1994 being a case in point 121 122 Other notable artists who set about expanding upon the structure of classic techno include Dan Curtin Morgan Geist Titonton Duvante and Ian O Brien 123 Intelligent techno edit See also Intelligent dance music ambient techno and bleep techno In 1991 UK music journalist Matthew Collin wrote that Europe may have the scene and the energy but it s America which supplies the ideological direction if Belgian techno gives us riffs German techno the noise British techno the breakbeats then Detroit supplies the sheer cerebral depth 124 By 1992 a number of European producers and labels began to associate rave culture with the corruption and commercialization of the original techno ideal 125 Following this the notion of an intelligent or Detroit inspired pure techno aesthetic began to take hold Detroit techno had maintained its integrity throughout the rave era and was pushing a new generation of so called intelligent techno producers forward Simon Reynolds suggests that this progression involved a full scale retreat from the most radically posthuman and hedonistically functional aspects of rave music toward more traditional ideas about creativity namely the auteur theory of the solitary genius who humanizes technology 126 The term intelligent techno was used to differentiate more sophisticated versions of underground techno 127 from rave oriented styles such as breakbeat hardcore Schranz Dutch Gabber Warp Records was among the first to capitalize upon this development with the release of the compilation album Artificial Intelligence 128 Of this time Warp founder and managing director Steve Beckett said the dance scene was changing and we were hearing B sides that weren t dance but were interesting and fitted into experimental progressive rock so we decided to make the compilation Artificial Intelligence which became a milestone it felt like we were leading the market rather than it leading us the music was aimed at home listening rather than clubs and dance floors people coming home off their nuts and having the most interesting part of the night listening to totally tripped out music The sound fed the scene 129 Warp had originally marketed Artificial Intelligence using the description electronic listening music but this was quickly replaced by intelligent techno In the same period 1992 93 other names were also bandied about such as armchair techno ambient techno and electronica 130 but all referred to an emerging form of post rave dance music for the sedentary and stay at home 131 Following the commercial success of the compilation in the United States Intelligent Dance Music eventually became the name most commonly used for much of the experimental dance music emerging during the mid to late 1990s Although it is primarily Warp that has been credited with ushering the commercial growth of IDM and electronica in the early 1990s there were many notable labels associated with the initial intelligence trend that received little if any wider attention Amongst others they include Black Dog Productions 1989 Carl Craig s Planet E 1991 Kirk Degiorgio s Applied Rhythmic Technology 1991 Eevo Lute Muzique 1991 General Production Recordings 1991 In 1993 a number of new intelligent techno electronica record labels emerged including New Electronica Mille Plateaux 100 Pure 1993 and Ferox Records 1993 Free techno edit See also Free tekno Freetekno Teknival Free Party Acid techno and DIY culture nbsp A sound system at Czechtek 2004In the early 1990s a post rave DIY free party scene had established itself in the UK It was largely based around an alliance between warehouse party goers from various urban squat scenes and politically inspired new age travellers The new agers offered a readymade network of countryside festivals that were hastily adopted by squatters and ravers alike 132 Prominent among the sound systems operating at this time were Exodus in Luton Tonka in Brighton Smokescreen in Sheffield DiY in Nottingham Bedlam Circus Warp LSDiesel and London s Spiral Tribe The high point of this free party period came in May 1992 when with less than 24 hours notice and little publicity more than 35 000 gathered at the Castlemorton Common Festival for 5 days of partying 133 This one event was largely responsible for the introduction in 1994 of the Criminal Justice and Public Order Act 134 effectively leaving the British free party scene for dead Following this many of the traveller artists moved away from Britain to Europe the US Goa in India Koh Phangan in Thailand and Australia s East Coast 133 In the rest of Europe due in some part to the inspiration of traveling sound systems from the UK 133 rave enjoyed a prolonged existence as it continued to expand across the continent 102 Spiral Tribe Bedlam and other English sound systems took their cooperative techno ideas to Europe particularly Eastern Europe where it was cheaper to live and audiences were quick to appropriate the free party ideology It was European Teknival free parties such as the annual Czechtek event in the Czech Republic that gave rise to several French German and Dutch sound systems Many of these groups found audiences easily and were often centered around squats in cities such as Amsterdam and Berlin 133 Divergence edit See also List of electronic music genres By 1994 there were a number of techno producers in the UK and Europe building on the Detroit sound but a number of other underground dance music styles were by then vying for attention Some drew upon the Detroit techno aesthetic while others fused components of preceding dance music forms This led to the appearance in the UK initially of inventive new music that sounded far removed from techno For instance jungle drum and bass demonstrated influences ranging from hip hop soul and reggae to techno and house With an increasing diversification and commercialization of dance music the collectivist sentiment prominent in the early rave scene diminished each new faction having its own particular attitude and vision of how dance music or in certain cases non dance music should evolve According to Muzik magazine by 1995 the UK techno scene was in decline and dedicated club nights were dwindling The music had become too hard too fast too male too drug oriented too anally retentive Despite this weekly night at clubs such as Final Frontier London The Orbit Leeds House of God Birmingham Pure Edinburgh whose resident DJ Twitch later founded the more eclectic Optimo and Bugged Out Manchester were still popular With techno reaching a state of creative palsy and with a disproportionate number of underground dance music enthusiasts more interested in the sounds of rave and jungle in 1995 the future of the UK techno scene looked uncertain as the market for pure techno waned Muzik described the sound of UK techno at this time as dutiful grovelling at the altar of American techno with a total unwillingness to compromise 135 By the end of the 1990s a number of post techno 136 underground styles had emerged including ghettotech a style that combines some of the aesthetics of techno with hip hop and house music nortec glitch digital hardcore electroclash 1 and so called no beat techno 137 In attempting to sum up the changes since the heyday of Detroit techno Derrick May has since revised his famous quote in stating that Kraftwerk got off on the third floor and now George Clinton s got Napalm Death in there with him The elevator s stalled between the pharmacy and the athletic wear store 71 Commercial exposure edit nbsp Underworld during a live performanceWhile techno and its derivatives only occasionally produce commercially successful mainstream acts Underworld and Orbital being two better known examples the genre has significantly affected many other areas of music In an effort to appear relevant many established artists for example Madonna and U2 have dabbled with dance music yet such endeavors have rarely evidenced a genuine understanding or appreciation of techno s origins with the former proclaiming in January 1996 that Techno Death 138 139 140 Rapper Missy Elliott exposed the popular music audience to the Detroit techno sound when she featured material from Cybotron s Clear on her 2006 release Lose Control this resulted in Juan Atkins receiving a Grammy Award nomination for his writing credit Elliott s 2001 album Miss E So Addictive also clearly demonstrated the influence of techno inspired club culture 141 In the late 90s the publication of relatively accurate histories by authors Simon Reynolds Generation Ecstasy also known as Energy Flash and Dan Sicko Techno Rebels plus mainstream press coverage of the Detroit Electronic Music Festival in the 2000s helped diffuse some of the genre s more dubious mythology 142 Even the Detroit based company Ford Motors eventually became savvy to the mass appeal of techno noting that this music was created partly by the pounding clangor of the Motor City s auto factories It became natural for us to incorporate Detroit techno into our commercials after we discovered that young people are embracing techno With a marketing campaign targeting under 35s Ford used Detroit Techno as a print ad slogan and chose Model 500 s No UFO s to underpin its November 2000 MTV television advertisement for the Ford Focus 143 144 145 146 Antecedents editEarly use of the term Techno edit In 1977 Steve Fairnie and Bev Sage formed an electronica band called the Techno Twins in London England When Kraftwerk first toured Japan their music was described as technopop by the Japanese press 147 The Japanese band Yellow Magic Orchestra used the word techno in a number of their works such as the song Technopolis 1979 the album Technodelic 1981 and a flexi disc EP The Spirit of Techno 1983 148 When Yellow Magic Orchestra toured the United States in 1980 they described their own music as technopop and were written up in Rolling Stone Magazine 149 Around 1980 the members of YMO added synthesizer backing tracks to idol songs such as Ikue Sakakibara s Robot and these songs were classified as techno kayou or bubblegum techno citation needed In 1985 Billboard reviewed the Canadian band Skinny Puppy s album and described the genre as techno dance 150 Juan Atkins himself said In fact there were a lot of electronic musicians around when Cybotron started and I think maybe half of them referred to their music as techno However the public really wasn t ready for it until about 85 or 86 It just so happened that Detroit was there when people really got into it 151 Proto techno edit The popularity of Eurodisco and Italo disco referred to as progressive in Detroit and new romantic synthpop in the Detroit high school party scene from which techno emerged 152 has prompted a number of commentators to try to redefine the origins of techno by incorporating musical precursors to the Detroit sound as part of a wider historical survey of the genre s development 15 153 154 The search for a mythical first techno record leads such commentators to consider music from long before the 1988 naming of the genre Aside from the artists whose music was popular in the Detroit high school scene progressive disco acts such as Giorgio Moroder Alexander Robotnick and Claudio Simonetti and synthpop artists such as Visage New Order Depeche Mode The Human League and Heaven 17 they point to examples such as Sharevari 1981 by A Number of Names 155 danceable selections from Kraftwerk 1977 83 the earliest compositions by Cybotron 1981 Moroder s From Here to Eternity 1977 and Manuel Gottsching s proto techno masterpiece 154 E2 E4 1981 The Eurodisco song I Feel Love produced by Giorgio Moroder for Donna Summer in 1976 has been described as a milestone and blueprint for EDM because it was the first to combine repetitive synthesizer loops with a continuous four on the floor bass drum and an off beat hi hat which would become a main feature of techno and house ten years later 156 110 157 Another example is a record entitled Love in C minor released in 1976 by Parisian Eurodisco producer Jean Marc Cerrone cited as the first so called conceptual disco production and the record from which house techno and other underground dance music styles flowed 158 Yet another example is Yellow Magic Orchestra s work which has been described as proto techno 159 160 Around 1983 Sheffield band Cabaret Voltaire began including funk and EDM elements into their sound and in later years would come to be described as techno Nitzer Ebb was an Essex band formed in 1982 which also showed funk and EDM influence on their sound around this time The Danish band Laid Back released White Horse in 1983 with a similar funky electronica sound Prehistory edit Certain electro disco and European synthpop productions share with techno a dependence on machine generated dance rhythms but such comparisons are not without contention Efforts to regress further into the past in search of earlier antecedents entails a further regression to the sequenced electronic music of Raymond Scott whose The Rhythm Modulator The Bass Line Generator and IBM Probe are considered early examples of techno like music In a review of Scott s Manhattan Research Inc compilation album the English newspaper The Independent suggested that Scott s importance lies mainly in his realization of the rhythmic possibilities of electronic music which laid the foundation for all electro pop from disco to techno 161 In 2008 a tape from the mid to late 1960s by the original composer of the Doctor Who theme Delia Derbyshire was found to contain music that sounded remarkably like contemporary EDM Commenting on the tape Paul Hartnoll of the dance group Orbital described the example as quite amazing noting that it sounded not unlike something that could be coming out next week on Warp Records 162 Music production practice editStylistic considerations edit In general techno is very DJ friendly being mainly instrumental commercial varieties being an exception and is produced with the intention of its being heard in the context of a continuous DJ set wherein the DJ progresses from one record to the next via a synchronized segue or mix 163 Much of the instrumentation in techno emphasizes the role of rhythm over other musical parameters but the design of synthetic timbres and the creative use of music production technology in general are important aspects of the overall aesthetic practice Unlike other forms of EDM that tend to be produced with synthesizer keyboards techno does not always strictly adhere to the harmonic practice of Western music and such strictures are often ignored in favor of timbral manipulation alone 164 The use of motivic development though relatively limited and the employment of conventional musical frameworks is more widely found in commercial techno styles for example euro trance where the template is often an AABA song structure 165 The main drum part is almost universally in common time 4 4 meaning 4 quarter note pulses per bar 166 In its simplest form time is marked with kicks bass drum beats on each quarter note pulse a snare or clap on the second and fourth pulse of the bar with an open hi hat sound every second eighth note This is essentially a drum pattern popularized by disco or even polka and is common throughout house and trance music as well The tempo tends to vary between approximately 120 bpm quarter note equals 120 pulses per minute and 150 bpm depending on the style of techno Some of the drum programming employed in the original Detroit based techno made use of syncopation and polyrhythm yet in many cases the basic disco type pattern was used as a foundation with polyrhythmic elaborations added using other drum machine voices This syncopated feel funkiness distinguishes the Detroit strain of techno from other variants It is a feature that many DJs and producers still use to differentiate their music from commercial forms of techno the majority of which tend to be devoid of syncopation Derrick May has summed up the sound as Hi tech Tribalism something very spiritual very bass oriented and very drum oriented very percussive The original techno music was very hi tech with a very percussive feel it was extremely extremely Tribal It feels like you re in some sort of hi tech village 145 Compositional techniques edit nbsp Example of a professional production environmentThere are many ways to create techno but the majority will depend upon the use of loop based step sequencing as a compositional method Techno musicians or producers rather than employing traditional compositional techniques may work in an improvisatory fashion 167 often treating the electronic music studio as one large instrument The collection of devices found in a typical studio will include units that are capable of producing many different sounds and effects Studio production equipment is generally synchronized using a hardware or computer based MIDI sequencer enabling the producer to combine in one arrangement the sequenced output of many devices A typical approach to using this type of technology compositionally is to overdub successive layers of material while continuously looping a single measure or sequence of measures This process will usually continue until a suitable multi track arrangement has been produced 168 Once a single loop based arrangement has been generated a producer may then focus on developing how the summing of the overdubbed parts will unfold in time and what the final structure of the piece will be Some producers achieve this by adding or removing layers of material at appropriate points in the mix Quite often this is achieved by physically manipulating a mixer sequencer effects dynamic processing equalization and filtering while recording to a multi track device Other producers achieve similar results by using the automation features of computer based digital audio workstations Techno can consist of little more than cleverly programmed rhythmic sequences and looped motifs combined with signal processing of one variety or another frequency filtering being a commonly used process A more idiosyncratic approach to production is evident in the music of artists such as Twerk and Autechre where aspects of algorithmic composition are employed in the generation of material Retro technology edit nbsp The Roland TR 808 was according to Derrick May the preferred drum machine during the early years of techno 169 Instruments used by the original techno producers based in Detroit many of which are highly sought after on the retro music technology market include classic drum machines like the Roland TR 808 and TR 909 devices such as the Roland TB 303 bass line generator and synthesizers such as the Roland SH 101 Kawai KC10 Yamaha DX7 and Yamaha DX100 as heard on Derrick May s seminal 1987 techno release Nude Photo 98 Much of the early music sequencing was executed via MIDI but neither the TR 808 nor the TB 303 had MIDI only DIN sync using hardware sequencers such as the Korg SQD1 and Roland MC 50 and the limited amount of sampling that was featured in this early style was accomplished using an Akai S900 170 By the mid 1990s TR 808 and TR 909 drum machines had already achieved legendary status a fact reflected in the prices sought for used devices During the 1980s the 808 became the staple beat machine in Hip hop production while the 909 found its home in House music and techno It was the pioneers of Detroit techno who were making the 909 the rhythmic basis of their sound and setting the stage for the rise of Roland s vintage Rhythm Composer In November 1995 the UK music technology magazine Sound on Sound noted 171 There can be few hi tech instruments which still command a second hand price only slightly lower than their original selling price 10 years after their launch Roland s now near legendary TR 909 is such an example released in 1984 with a retail price of 999 they now fetch up to 900 on the second hand market The irony of the situation is that barely a year after its launch the 909 was being chopped out by hi tech dealers for around 375 to make way for the then new TR 707 and TR 727 Prices hit a new low around 1988 when you could often pick up a second user 909 for under 200 and occasionally even under 100 Musicians all over the country are now garrotting themselves with MIDI leads as they remember that 909 they sneered at for 100 or worse the one they sold for 50 did you ever hear the one about the guy who gave away his TB 303 Bassline now worth anything up to 900 from true loony collectors because he couldn t sell it By May 1996 Sound on Sound was reporting that the popularity of the 808 had started to decline with the rarer TR 909 taking its place as the dance floor drum machine to use This is thought to have arisen for a number of reasons the 909 gives more control over the drum sounds has better programming and includes MIDI as standard Sound on Sound reported that the 909 was selling for between 900 and 1100 and noted that the 808 was still collectible but maximum prices had peaked at about 700 to 800 172 Despite this fascination with retro music technology according to Derrick May there is no recipe there is no keyboard or drum machine which makes the best techno or whatever you want to call it There never has been It was down to the preferences of a few guys The 808 was our preference We were using Yamaha drum machines different percussion machines whatever 169 Emulation edit In the latter half of the 1990s the demand for vintage drum machines and synthesizers motivated a number of software companies to produce computer based emulators One of the most notable was the ReBirth RB 338 produced by the Swedish company Propellerhead and originally released in May 1997 173 Version one of the software featured two TB 303s and a TR 808 only but the release of version two saw the inclusion of a TR 909 A Sound on Sound review of the RB 338 V2 in November 1998 noted that Rebirth had been called the ultimate techno software package and mentions that it was a considerable software success story of 1997 174 In America Keyboard Magazine asserted that ReBirth had opened up a whole new paradigm modeled analog synthesizer tones percussion synthesis pattern based sequencing all integrated in one piece of software 175 Despite the success of ReBirth RB 338 it was officially taken out of production in September 2005 Propellerhead then made it freely available for download from a website called the ReBirth Museum The site also features extensive information about the software s history and development 176 In 2001 Propellerhead released Reason V1 a software based electronic music studio comprising a 14 input automated digital mixer 99 note polyphonic analogue synth classic Roland style drum machine sample playback unit analogue style step sequencer loop player multitrack sequencer eight effects processors and over 500 MB of synthesizer patches and samples With this release Propellerhead were credited with creating a buzz that only happens when a product has really tapped into the zeitgeist and may just be the one that many were waiting for 177 Reason is as of 2018 at version 10 178 Technological advances edit During the mid to late 90s as computer technology became more accessible and music software advanced interacting with music production technology was possible using means that bore little relationship to traditional musical performance practices 179 for instance laptop performance laptronica 180 and live coding 181 182 By the mid 2000s a number of software based virtual studio environments had emerged with products such as Propellerhead s Reason and Ableton Live finding popular appeal 183 Also during this period software versions of classic devices that once existed exclusively in the hardware domain became available for the first time These software based music production tools offered viable and cost effective alternatives to typical hardware based production studios and thanks to continued advances in microprocessor technology it became possible to create high quality music using little more than a single laptop computer Using highly configurable software tools artists could also easily tailor their production sound by creating personalized software synthesizers effects modules and various composition environments Some of the more popular programs for achieving such ends included commercial releases such as Max Msp and Reaktor and freeware packages such as Pure Data SuperCollider and ChucK In a certain sense this technological innovation lead to the resurgence of the DIY mentality that was once central to dance music culture 184 185 186 187 In the 00s these advances democratized music creation and lead to a significant increase in the amount of home produced music available to the general public via the internet 188 Notable techno venues editThe examples and perspective in this sectionl may not represent a worldwide view of the subject You may improve this sectionl discuss the issue on the talk page or create a new sectionl as appropriate November 2021 Learn how and when to remove this template message nbsp Berlin s Berghain techno clubIn Germany noted techno clubs of the 1990s include Tresor and E Werk in Berlin Omen and Dorian Gray in Frankfurt Ultraschall and KW Das Heizkraftwerk in Munich as well as Stammheim in Kassel 189 In 2007 Berghain was cited as possibly the current world capital of techno much as E Werk or Tresor were in their respective heydays 190 In the 2010s aside from Berlin Germany continued to have a thriving techno scene with clubs such as Gewolbe in Cologne Institut fur Zukunft in Leipzig MMA Club and Blitz Club in Munich Die Rakete in Nuremberg and Robert Johnson in Offenbach am Main 191 192 In the United Kingdom Glasgow s Sub Club has been associated with techno since the early 1990s and clubs such as London s Fabric and Egg London have gained notoriety for supporting techno 193 In the 2010s a techno scene also emerged in Georgia with the Bassiani in Tbilisi being the most notable venue 194 See also editDetroit Electronic Music ArchiveReferences edit a b Carpenter Susan 6 August 2002 Electro clash builds on 80s techno beat The Spectator Retrieved 25 July 2012 According to Butler 2006 33 use of the term EDM has become increasingly common among fans in recent years During the 1980s the most common catchall term for EDM was house music while techno became more prevalent during the first half of the 1990s As EDM has become more diverse however these terms have come to refer to specific genres Another word electronica has been widely used in mainstream journalism since 1996 but most fans view this term with suspicion as a marketing label devised by the music industry Butler M 2006 Unlocking the groove rhythm meter and musical design in electronic dance music Bloomington Indiana University Press page 78 Drawing on two of the most commonly used terms employed in this discourse I will describe these categories as breakbeat driven and four on the floor The constant stream of steady bass drum quarter notes that results is the distinguishing feature of four on the floor genres and the term continues to be used within EDM The primary genres within this category are techno house and trance Brewster B amp Broughton F 2014 Last night a DJ saved my life the history of the disc jockey New York Grove Press Chapter 7 paragraph 48 EPUB No UFOs was a dark challenge to the dancefloor built from growing layers of robotic bass dissonant melody lines and barks of disembodied voices it was music he d originally intended for Cybotron and in its theme of government control it continued Cybotron s doomy social commentary but was noticeably faster paced with the electro breakbeat replaced by an industrial four to the floor rhythm This was the sound of Detroit s future Julien O amp Levaux C 2018 Over and over exploring repetition in popular music New York NY Bloomsbury Academic page 76 Most techno dance music is characterized by a post disco house music inflected rhythm that is known as four on the floor in reference to the pulse that is explicitly emphasized by a kick drum on each beat regular like the piston of a mechanical machine while the snare is heard on the second and fourth beats and an open hi hat sound provides a sense of pull and push in between the beats Music styles that fall within the rhythmic realm of the disco continuum include not only Chicago house music and Detroit techno but also hi NRG and trance Webber S 2008 DJ skills the essential guide to mixing and scratching Oxford Focal page 253 A lot of dance music features what s called four on the floor which means that the bass drum also called the kick drum Is playing quarter notes In 4 4 time While four on the floor is common in most genres derived from house and techno it is far from new Demers J 2010 Listening through the noise the aesthetics of experimental electronic music Oxford New York Oxford University Press page 97 These newest subgenres drew listeners in part because they provided a respite from relent less dancing but also because they fleshed out the sparseness of straight ahead techno and house In particular dub techno replaced EDM s mechanization with a way of muffling the sense of time s passage despite the persistence of the four on the floor beat a b Brewster 2006 354 a b c d Reynolds 1999 71 Detroit s music had hitherto reached British ears as a subset of Chicago house Neil Rushton and the Belleville Three decided to fasten on the word techno a term that had been bandied about but never stressed in order to define Detroit techno as a distinct genre Bogdanov Vladimir 2001 All music guide to electronica the definitive guide to electronic music 4 ed Backbeat Books p 582 ISBN 0 87930 628 9 Retrieved 26 May 2011 Typically that birth is traced to the early 80s and the emaciated inner city of Detroit where figures such as Juan Atkins Derrick May and Kevin Saunderson among others fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space race electric funk of George Clinton the optimistic futurism of Alvin Toffler s The Third Wave from which the music derived its name and the emerging electro sound elsewhere being explored by Soul Sonic Force the Jonzun Crew Man Parrish Pretty Tony Butler and LA s Wrecking Cru Rietveld 1998 125 Sicko 1999 28 Having grown up with the latter day effects of Fordism the Detroit techno musicians read futurologist Alvin Toffler s soundbite predictions for change blip culture the intelligent environment the infosphere de massification of the media de massifies our minds the techno rebels appropriated technologies accorded with some though not all of their own intuitions Toop D 1995 Ocean of Sound Serpent s Tail p 215 Detroit techno Keyboard Magazine 231 July 1995 Music Faze The Electro House Dubstep EDM Music Blog Electronica Genre Guide 20 December 2014 Archived from the original on 20 December 2014 Retrieved 22 November 2019 Critzon Michael 17 September 2001 Eat Static is bad stuff Central Michigan Life Archived from the original on 24 May 2016 Retrieved 12 August 2007 Hamersly Michael 23 March 2001 Electronic Energy The Miami Herald 6G Schoemer Karen 10 February 1997 Electronic Eden Newsweek p 60 Every Monday night Natania goes to Koncrete Jungle a dance party on new York s lower East Side that plays a hip relatively new offshoot of dance music known as drum amp bass or in a more general way techno a blanket term that describes music made on computers and electronic gadgets instead of conventional instruments and performed by deejays instead of old fashioned bands a b Kodwo 1998 100 a b c d e Trask Simon December 1988 Future Shock Music Technology Magazine Archived from the original on March 15 2008 Sicko 1999 71 Silcott M 1999 Rave America New school dancescapes Toronto ON ECW Press a b Brewster 2006 349 Derrick May on the roots of techno at RBMA Bass Camp Japan 2010 Red Bull Music Academy YouTube 20 September 2010 Archived from the original on 21 December 2021 Retrieved 23 July 2012 Sicko 1999 49 Schaub Christoph Beyond the Hood Detroit Techno Underground Resistance and African American Metropolitan Identity Politics Techno music pulses in Detroit CNN 13 February 2003 Archived from the original on 12 October 2007 Retrieved 11 August 2007 Arnold Jacob 17 October 1999 A Brief History of Techno Gridface Shapiro Peter 2000 Modulations A History of Electronic Music Throbbing Words on Sound Caipirinha Productions Inc pp 108 121 ISBN 189102406X Brewster 2006 350 Reynolds 1999 16 17 Sicko 1999 56 58 Snobs Brats Ciabattino Rafael and Charivari are mentioned in Generation Ecstasy Reynolds 1999 15 Gables and Charivari are mentioned in Techno Rebels Sicko 1999 35 51 52 Citations still needed for Comrades Hardwear Rumours and Weekends Sicko 1999 33 42 54 59 Dr Rebekah Farrugia paraphrasing Derrick May in a review of High Tech Soul The Creation of Techno Music Directed by Gary Bredow Plexifilm DVD PLX 029 2006 Published in Journal of the Society for American Music 2008 Volume 2 Number 2 pp 291 293 Keyboard Magazine Vol 21 No 7 issue 231 July 1995 Sicko 1999 74 Cosgrove 1988b Juan s first group Cybotron released several records at the height of the electro funk boom in the early 80s the most successful being a progressive homage to the city of Detroit simply entitled Techno City Sicko 1999 75 Adding to the impact ofEnter the single Clear made a huge splash and became Cybotron s biggest hit especially after it was remixed by Jose Animal Diaz Clear climbed the charts in Dallas Houston and Miami and spent nine weeks on the Billboard Top Black Singles chart as it was called then in fall 1983 peaking at No 52 Clear was a success First academic conference on techno music and its African American origins Retrieved 8 October 2019 Cosgrove 1988b At the time Atkins believed Techno City was a unique and adventurous piece of synthesizer funk more in tune with Germany than the rest of black America but on a dispiriting visit to New York Juan heard Afrika Bambaataa s Planet Rock and realized that his vision of a spartan electronic dance sound had been upstaged He returned to Detroit and renewed his friendship with two younger students from Belleville High Kevin Saunderson and Derrick May and quietly over the next few years the three of them became the creative backbone of Detroit Techno Techno City was released in 1984 Sicko 1999 73 clarifies Atkins was in New York in 1982 trying to get Cybotron s Cosmic Cars into the hands of radio DJs when he first heard Planet Rock so Cosmic Cars not Techno City is theunique and adventurous piece of synthesizer funk Sicko 1999 76 Sicko 2010 48 49 Butler 2006 43 Nelson 2001 154 Interview with Atkins and Mike Banks Cox T 2008 Model 500 Remake remodel Resident Advisor In 1985 Juan Atkins released the first record on his fledgling label Metroplex No UFO s now widely regarded as Year Zero of the techno movement Interview Osselaer John 30 June 2000 Alan Oldham Spannered Archived from the original on Apr 11 2023 What do you consider to be the most important turning points in the history of Detroit techno The release of Model 500 No UFOs Sicko 1999 77 78 a b McCollum Brian 22 May 2002 Detroit Electronic Music Festival salutes Chicago connection Detroit Free Press Archived from the original on 18 December 2008 Retrieved 4 April 2008 Harrison Andrew July 1992 Derrick May Select London pp 80 83 RIR singles like Strings of Life are among the few classics in the debased world of techno Strings of Life appears on compilations titled The Real Classics of Chicago House 2 2003 Techno Muzik Classics 1999 House Classics Vol One 1997 100 House Classics Vol 1 1995 Classic House 2 1994 Best of House Music Vol 3 1990 Best of Techno Vol 4 1994 House Nation Classic House Anthems Vol 1 1994 and numerous other compilations with the words techno or house in their titles Lawrence Tim 14 June 2005 Acid Can You Jack Soul Jazz liner notes Archived from the original on 21 March 2008 Retrieved 3 April 2008 Brewster 2006 353 a b Rietveld 1998 40 50 a b Cosgrove 1988a Says Juan Atkins Within the last 5 years or so the Detroit underground has been experimenting with technology stretching it rather than simply using it As the price of sequencers and synthesizers has dropped so the experimentation has become more intense Basically we re tired of hearing about being in love or falling out tired of the R amp B system so a new progressive sound has emerged We call it techno a b c Cosgrove 1988a Although the Detroit dance music has been casually lumped in with the jack virus of Chicago house the young techno producers of the Seventh City claim to have their own sound music that goes beyond the beat creating a hybrid of post punk funkadelia and electro disco a mesmerizing underground of new dance which blends European industrial pop with black American garage funk If the techno scene worships any gods they are a pretty deranged deity according to Derrick May The music is just like Detroit a complete mistake It s like George Clinton and Kraftwerk stuck in an elevator And strange as it may seem the techno scene looked to Europe to Heaven 17 Depeche Mode and the Human League for its inspiration Says an Underground Resistance related group Techno is all about simplicity We don t want to compete with Jimmy Jam and Terry Lewis Modern R amp B has too many rules big snare sounds big bass and even bigger studio bills Techno is probably the first form of contemporary black music which categorically breaks with the old heritage of soul music Unlike Chicago House which has a lingering obsession with seventies Philly and unlike New York Hip Hop with its deconstructive attack on James Brown s back catalogue Detroit Techno refutes the past It may have a special place for Parliament and Pete Shelley but it prefers tomorrow s technology to yesterday s heroes Techno is a post soul sound For the young black underground in Detroit emotion crumbles at the feet of technology Despite Detroit s rich musical history the young techno stars have little time for the golden era of Motown Juan Atkins of Model 500 is convinced there is little to be gained from the motor city legacy Say what you like about our music says Blake Baxter but don t call us the new Motown we re the second coming a b c Cosgrove 1988b Derrick May sees the music as post soul and believes it marks a deliberate break with previous traditions of black American music The music is just like Detroit he claims a complete mistake it s like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company Rietveld 1998 124 127 Rietveld 1998 127 Atkins Juan 22 May 1992 Juan Atkins Dance Music Report 15 9 19 ISSN 0883 1122 Unterberger R Hicks S Dempsey J 1999 Music USA The Rough Guide Rough Guides Ltd illustrated edition ISBN 9781858284217 Interview Derrick May The Secret of Techno Mixmag 1997 Archived from the original on 14 February 2004 Retrieved 25 July 2012 Fikentscher 2000 5 in discussing the definition of underground dance music as it relates to post disco music in America states that The prefix underground does not merely serve to explain that the associated type of music and its cultural context are familiar only to a small number of informed persons Underground also points to the sociological function of the music framing it as one type of music that in order to have meaning and continuity is kept away to large degree from mainstream society mass media and those empowered to enforce prevalent moral and aesthetic codes and values Fikentscher K 2000 You Better Work Underground Dance Music in New York Wesleyan University Press Hanover NH Rietveld 1998 54 59 Brewster 2006 398 443 Brewster 2006 419 I was on a mission because most people hated house music and it was all rare groove and hip hop I d play Strings of Life at the Mud Club and clear the floor Three weeks later you could see pockets of people come onto the floor dancing to it and going crazy and this was without ecstasy Mark Moore commenting on the initially slow response to House music in 1987 Cosgrove 1988a Although it can now be heard in Detroit s leading clubs the local area has shown a marked reluctance to get behind the music It has been in clubs like the Powerplant Chicago The World New York The Hacienda Manchester Rock City Nottingham and Downbeat Leeds where the techno sound has found most support Ironically the only Detroit club which really championed the sound was a peripatetic party night called Visage which unromantically shared its name with one of Britain s oldest new romantic groups a b c Sicko 1999 98 Various Techno The New Dance Sound Of Detroit Vinyl LP at Discogs discogs com Retrieved 13 August 2016 Chin Brian March 1990 House Music All Night Long Best of House Music Vol 3 liner notes Profile Records Inc Detroit s techno and many more stylistic outgrowths have occurred since the word house gained national currency in 1985 a b Bishop Marlon Glasspiegel Wills 14 June 2011 Juan Atkins interview for Afropop Worldwide World Music Productions Archived from the original on 23 June 2011 Retrieved 17 June 2011 Savage Jon 1993 Machine Soul A History Of Techno The Village Voice The U K likes discovering trends Rushton says Because of the way that the media works dance culture happens very quickly It s not hard to hype something up When the first techno records came in the early Model 500 Reese and Derrick May material I wanted to follow up the Detroit connection I took a flyer and called up Transmat I got Derrick May and we started to release his records in England Derrick came over with a bag of tapes some of which didn t have any name tracks which are now classics like Sinister and Strings of Life Derrick then introduced us to Kevin Saunderson and we quickly realized that there was a cohesive sound of these records and that we could do a really good compilation album We got backing from Virgin Records and flew to Detroit We met Derrick Kevin and Juan and went out to dinner trying to think of a name At the time everything was house house house We thought of Motor City House Music that kind of thing but Derrick Kevin and Juan kept on using the wordtechno They had it in their heads without articulating it it was already part of their language a b Sicko 2010 118 120 Sicko 2010 71 a b DJ Derek May Profile Fantazia Rave Archive Retrieved 1 October 2009 Sicko 1999 98 101 Sicko 1999 100 102 a b Sicko 1999 95 120 Sicko 1999 102 Once Rushton and Atkins set techno apart with theTechno compilation the music took off on its own course no longer parallel to the Windy City s progeny And as the 1980s came to a close the difference between techno and house music became increasingly pronounced with techno s instrumentation growing more and more adventurous a b c Sicko 1999 92 94 a b Horst Dirk 1974 Synthiepop Die gefuhlvolle Kalte Geschichten des Synthiepop Synthiepop The soulful cold Stories of Synthiepop in German a b Schafer Sven 21 October 2019 Talla 2XLC Am Anfang war der Technoclub Talla 2XLC In the beginning there was the Technoclub Faze Magazin Retrieved 29 January 2020 a b c d e f Sextro M amp Wick H 2008 We Call It Techno Sense Music amp Media Berlin DE How Frankfurt s 80s Tape Scene Laid the Foundation for the City s Techno Renaissance 15 October 2019 Fred Kogel 8 December 1988 Tanzhouse Acid House Special in German Tele 5 Retrieved 27 October 2023 a b c d Robb D 2002 Techno in Germany Its Musical Origins and Cultural Relevance German as a Foreign Language Journal No 2 2002 p 132 135 a b Ertl Christian 2010 Macht s den Krach leiser Popkultur in Munchen von 1945 bis heute Turn down the noise Pop culture in Munich from 1945 to today in German Allitera Verlag ISBN 978 3 86906 100 9 a b Hecktor Mirko von Uslar Moritz Smith Patti Neumeister Andreas 1 November 2008 Mjunik Disco from 1949 to now in German Blumenbar pp 212 225 ISBN 978 3936738476 Leaving heroin and melancholia behind Danielle de Picciotto on the Love Parade Electronic Beats 2014 06 20 Retrieved 2022 12 17 Messmer S 1998 Eierkuchensozialismus TAZ 10 July 1998 p 26 a b Brewster 2006 361 Henkel O Wolff K 1996 Berlin Underground Techno und Hiphop Zwischen Mythos und Ausverkauf Berlin FAB Verlag pp 81 83 Reynolds 1999 112 Sicko 1999 145 Schuler M 1995 Gabber Hardcore p 123 in Anz P Walder P Eds 1999 rev edn 1st publ 1995 Zurich Verlag Ricco Bilger Techno Reinbek Rowohlt Taschenbuch Verlag Reynolds 1999 110 Fischer Marc von Uslar Moritz Kracht Christian Roshani Anuschka Huetlin Thomas Jardine Anja 14 July 1996 Der pure Sex Nur besser The pure sex Only better Der Spiegel in German Retrieved 17 December 2022 Simon Reynolds in an interview with former Mille Plateaux label boss Achim Szepanski for Wire Magazine Reynolds S 1996 Low end theory The Wire No 146 4 96 Youth Love and Cabbage Der Spiegel in German 26 August 1996 Retrieved 17 December 2022 Reynolds 1999 131 Moby s track Go a work featuring a sample from the Twin Peaks opening theme entered the top 20 of UK Charts in late 1991 Reynolds 1999 219 222 Presenting themselves as a sort of techno Public Enemy Underground Resistance were dedicated to fighting the power not just through rhetoric but through fostering their own autonomy a b Sicko 1999 80 Price Emmett George ed 2010 Techno Encyclopedia of African American Music vol 3 Santa Barbara CA ABC CLIO p 942 ISBN 978 0313341991 retrieved 6 July 2013 Reynolds 1999 219 Sicko 1999 121 160 a b Sicko 1999 161 184 a b c Reynolds 2006 228 229 Reynolds 1999 215 Sicko 2010 181 a b Shallcross Mike July 1997 From Detroit To Deep Space The Wire No 161 p 21 Resident Advisor Sub Club Resident Advisor 2 March 2018 DMC World Laurence Malice tntmagazine com 2 March 2018 Tresor II Berlin amp Detroit A Techno Alliance album details at Discogs a b Brewster Bill June 22 2017 I feel love Donna Summer and Giorgio Moroder created the template for dance music as we know it Mixmag Retrieved May 26 2022 Sicko 1999 199 200 Mike Banks interview The Wire Issue 285 November 07 Osselaer John 1 February 2001 Robert Hood interview Overload Media Spannered Retrieved 2 December 2011 Sicko 1999 Rubin Mike 30 September 2001 Techno Dances With Jazz New York Times Retrieved 2 December 2011 Electronic producers of all stripes are now inspired by a broader jazz palette whether as fodder for samples as part of the search for rhythmic diversity or as a reference point for their own artistic aspirations toward a cerebral sophistication removed from the sweat of the dance floor The article provides as examples the music of Kirk Degiorgio Matthew Herbert Spring Heel Jack Tom Jenkinson Squarepusher Jason Swinscoe Cinematic Orchestra and Innerzone Orchestra Carl Craig with ex Sun Ra James Carter group members et al Sicko 1999 198 Gerald Simpson A Guy Called Gerald maintains that Pacific State was intended for a John Peel session exclusively but 808 State s Graham Massey and Martin Price added additional elements by drawing upon Massey s collection of exotic jazz records for inspiration This led to the inclusion of a distinctive saxophone solo Massey recalls that We were trying to do something in the vein of Marshall Jefferson s Open Your Eyes That track was happening everywhere The production was released as a white label in May 1989 and later issued on the mini album Quadrastate at the end of July that year just as the second Summer of Love was flowering Massey remembers taking the white label to Mike Pickering Graeme Park and Jon Da Silva and notes that it rose through the ranks to become the last tune of the night Lawrence T 2006 Discotheque Hacienda sleeve notes for album release of the same name retrieved from the authors website Archived 15 June 2006 at the Wayback Machine Butler 2006 114 Graham Massey has discussed the use of unusual meters in 808 State s music commenting online on 18 June 2004 that I always thought Cobra Bora could have stood a chance It was sometimes played at Hot Night at the Hacienda despite its funny time signature the feel of the track was created by combining parts in 6 8 time with others in 4 4 a b Kodwo 1998 127 Galaxy 2 Galaxy A Hi Tech Jazz Compilation Submerge Archived from the original on 5 July 2008 Retrieved 21 July 2008 Galaxy 2 Galaxy is a band that was conceptualized with the first hitech Jazz record produced by UR in 1986 87 and later released in 1990 which was Nation 2 Nation UR 005 Jeff Mills and Mike Banks had visions of Jazz music and musicians operating on the same man machine doctrine dropped on them from Kraftwerk Early experiments with synthesizers and jazz by artists like Herbie Hancock Stevie Wonder Weather Report Return to Forever Larry Heard and Lenny White s Astral Pirates also pointed them in this direction UR went on to produce and further innovate this form of music which was coined Hitech Jazz by fans after the historic 1993 release of UR s Galaxy 2 Galaxy UR 025 album which included the underground UR smash titled Hitech Jazz Dave Angel Background Overview at Discogs 13 February 2003 Retrieved 11 August 2007 Angelic Upstart Archived 28 April 2008 at the Wayback Machine Mixmag interview with Dave Angel detailing his interest in jazz Retrieved from Techno de Sicko 2010 138 139 Brewster 2006 364 Reynolds 1999 183 Reynolds 1999 182 Anker M Herrington T Young R 1995 New Complexity Techno The Wire Issue 131 January 95 Track listing for the Warp Records 1992 compilation Artificial Intelligence Birke S 2007 Label Profile Warp Records The Independent UK Music Magazine supplement newspaper article published February 11 2007 Of all the terms devised for contemporary non academic electronic music the sense intended here electronica is one of the most loaded and controversial While on the one hand it does seem the most convenient catch all phrase under any sort of scrutiny it begins to implode In its original 1992 93 sense it was largely coterminous with the more explicitly elitist intelligent techno a term used to establish distance from and imply distaste for all other more dancefloor oriented types of techno ignoring the fact that many of its practitioners such as Richard James Aphex Twin were as adept at brutal dancefloor tracks as what its detractors present as self indulgent ambient noodling Blake Andrew Living Through Pop Routledge 1999 p 155 Reynolds 1999 181 Reynolds 1999 163 The traveling lifestyle began in the early seventies as convoys of hippies spent the summer wandering from site to site on the free festival circuit Gradually these proto crusty remnants of the original counterculture built up a neomedieval economy based on crafts alternative medicine and entertainment In the mid eighties as squatting became a less viable option and the government mounted a clampdown on welfare claimants many urban crusties tired of the squalor of settled life and took to the roving lifestyle a b c d St John 2001 100 101 Public Order Collective Trespass or Nuisance on Land Powers in relation to raves Criminal Justice and Public Order Act 1994 Her Majesty s Stationery Office 1994 Retrieved 17 January 2006 Bush Calvin Techno The Final Frontier Muzik Issue No 4 September 1995 p 48 50 Cox 2004 414 Any form of electronica genealogically related to Techno but departing from it in one way or another Loubet E amp Couroux M Laptop Performers Compact Disc Designers and No Beat Techno Artists in Japan Music from Nowhere Computer Music Journal Vol 24 No 4 Winter 2000 pp 19 32 Ross Andrew Lysloff Rene Gay Leslie 2003 Music and Technoculture Wesleyan University Press pp 185 186 ISBN 0 8195 6514 8 Chaplin Julia amp Michel Sia Fire Starters Spin Magazine page 40 March 1997 Spin Media LLC Guiccione Bob Jr Live to Tell Spin Magazine page 95 January 1996 Spin Media LLC Cinquemani Sal Miss E So Addictive Slant Magazine Archived from the original on 2 January 2010 Retrieved 21 December 2009 Gorell Robert Permanent record Jeff Mills talks Detroit techno and the exhibit that hopes to explain it Metro Times Retrieved 11 August 2007 Ford Unveils New Limited Street Edition Focus Press release Ford Motors 6 October 2000 Archived from the original on 11 July 2011 Retrieved 10 January 2009 Detroit Techno is a music style that is recognized by young people around the world We know that music is one of the biggest passions for our young car buyers so it made sense for us to incorporate a unique music element in our campaign Focus and Street Edition will feature an image exclaiming Detroit Techno on posters and in print ads New Ford Focus Commercial Features Ground Breaking Juan Atkins Techno Hit Press release 11 August 2000 a b McGarvey Sterling Derrick May Lunar Magazine Baishya Kopinjol 17 October 2005 Techno as it should be Juan Atkins and minimal techno Chicago Flame Archived from the original on 8 July 2011 79年8月の ロックマガジン の増刊号の MODERN MUSIC 7EP YMO the Spirit of Techno 過激な淑女カラオケ Henke James 12 June 1980 Yellow Magic Orchestra Rolling Stone Retrieved 22 November 2019 1 dead link Sicko Dan 1 July 1994 The Roots of Techno Wired Retrieved 22 November 2019 Sicko 1999 45 49 Brewster 2006 343 346 a b Reynolds 1999 190 Gillen Brendan 21 November 2001 Name that number The history of Detroit s first techno record Metro Times Detroit Retrieved 10 January 2009 Krettenauer Thomas 2017 Hit Men Giorgio Moroder Frank Farian and the eurodisco sound of the 1970s 80s In Ahlers Michael Jacke Christoph eds Perspectives on German Popular Music London Routledge ISBN 978 1 4724 7962 4 Donna Summer I Feel Love in German Zentrum fur Populare Kultur und Musik 8 May 2017 Retrieved May 26 2022 Sicko 1999 48 Keyboard Volume 19 Issues 7 12 GPI Publications 1993 p 28 Retrieved 4 June 2011 Stenshoel Peter 18 May 2011 Peter Stenshoel s Album of the Week What Me Worry by Yukihiro Takahashi KPCC Retrieved 3 October 2019 Raymond Scott s Manhattan Research 21 February 2006 Archived from the original on 13 August 2007 Retrieved 11 August 2007 Extensive collection of review excerpts hosted on the Raymond Scott website Wrench Nigel 18 July 2008 Lost tapes of the Dr Who composer BBC News Retrieved 10 January 2009 Butler 2006 12 13 94 Fikentscher K 1991 The Decline of Functional Harmony in Contemporary Dance Music Paper presented at the 6th International Conference On Popular Music Studies Berlin Germany 15 20 July 1991 Pope R 2011 Hooked on an Affect Detroit Techno and Dystopian Digital Culture Dancecult Journal of Electronic Dance Music Culture 2 1 p 38 Butler 2006 8 Butler 2006 208 209 214 Butler 2006 94 a b System 7 interview with Mark Roland in Muzik Issue No 4 September 1995 p 97 Keyboard Magazine Vol 21 No 7 issue 231 July 1995 12 Who Count Juan Atkins 909 LIVES Overview of the Roland TR 909 drum machine published by Sound on Sound magazine in November 1995 808 Statement Overview of the Roland TR 808 drum machine published by Sound on Sound magazine in May 1997 BORN WIBBLY Steinberg Propellerheads Rebirth RB 338 v2 0 Techno Microcomposer Software For Mac amp PC Overview of the original ReBirth RB 338 published by Sound on Sound magazine in August 1997 THE COOL OF REBIRTH Steinberg Propellerheads Rebirth RB 338 v2 0 Techno Microcomposer Software For Mac amp PC Overview of the ReBirth RB 338 V2 published by Sound on Sound magazine in November 1998 Jim Aikin Keyboard Magazine reprinted in Software Synthesizers The Definitive Guide to Virtual Musical Instruments Backbeat Books 2003 ReBirth virtual synthesizer and drum machine iPad app Propellerhead Rebirthmuseum com REASONS TO BE CHEERFUL Propellerhead Software Reason Virtual Music Studio Published by Sound on Sound magazine in March 2001 Overview of Reason 10 hosted at the Propellerhead website Emmerson S 2007 Living Electronic Music Ashgate Adlershot pp 111 113 Emmerson S 2007 pp 80 81 Emmerson S 2007 pp 115 Collins N 2003a Generative Music and Laptop Performance Contemporary Music Review Vol 22 Issue 4 London Routledge 67 79 23rd Annual International Dance Music Awards Nominees amp Winners Archived from the original on 1 May 2008 Retrieved 14 January 2009 Best Audio Editing Software of the Year 1st Ableton Live 4th Reason Best Audio DJ Software of the Year Ableton Live St John G ed FreeNRG Notes From the Edge of the Dance Floor Common Ground Melbourne 2001 pp 93 102 Rietveld H 1998 Repetitive Beats Free Parties and the Politics of Contemporary DIY Dance Culture in Britain in George McKay ed DIY Culture Party and Protest in Nineties Britain pp 243 67 London Verso Indy Media item mentioning DIY resurgence One year of DIY Culture Gillmor D Technology feeds grassroots media BBC news report published Thursday 9 March 2006 17 30 GMT Chadabe J Electronic music and life Organised Sound 9 1 3 6 2004 Cambridge University Press United Kingdom Hitzler Ronald Pfadenhauer Michaela Hillebrandt Frank Kneer Georg Kraemer Klaus 1998 A posttraditional society Integration and distinction within the techno scene Loss of safety Lifestyles between multi optionality and scarcity in German p 85 doi 10 1007 978 3 322 83316 7 ISBN 978 3 531 13228 0 Sherburne Philip 9 May 2007 The Month In Techno Pitchfork Media Retrieved 4 July 2007 The 10 best clubs in Germany that aren t in Berlin Electronic Beats 30 January 2017 Retrieved 31 August 2017 Die 15 besten Clubs Deutschlands Germanys 15 best Clubs in German Faze Magazin 31 December 2015 Retrieved 23 April 2020 DJ Mag 20 December 2017 Egg London djmag com Archived from the original on 18 January 2018 Retrieved 27 February 2018 Gray Carmen 29 May 2019 At This Techno Club the Party Is Political The New York Times Retrieved 28 February 2020 Bibliography editAnz P amp Walder P eds Techno Hamburg Rowohlt 1999 ISBN 3908010144 Barr T Techno The Rough Guide Rough Guides 2000 ISBN 978 1858284347 Brewster B amp Broughton F Last Night a DJ Saved My Life The History of the Disc Jockey Avalon Travel Publishing 2006 ISBN 978 0802136886 Butler M J Unlocking the Groove Rhythm Meter and Musical Design in Electronic Dance Music Indiana University Press 2006 ISBN 978 0253218049 Cannon S amp Dauncey H Popular Music in France from Chanson to Techno Culture Identity and Society Ashgate 2003 ISBN 978 0754608493 Collin M Altered State The Story of Ecstasy Culture and Acid House Serpent s Tail 1998 ISBN 978 1852426040 Cosgrove S a Seventh City Techno The Face 97 p 88 May 1988 ISSN 0263 1210 Cosgrove S b Techno The New Dance Sound of Detroit liner notes 10 Records Ltd UK 1988 LP DIXG 75 CD DIXCD 75 Cox C Author Warner D Editor Audio Culture Readings in Modern Music Continuum International Publishing Group Ltd 2004 ISBN 978 0826416155 Fritz J Rave Culture An Insider s Overview Smallfry Press 2000 ISBN 978 0968572108 Kodwo E More Brilliant Than the Sun Adventures in Sonic Fiction Quartet Books 1998 ISBN 978 0704380257 Nelson A Tu L T N Headlam Hines A eds TechniColor Race Technology and Everyday Life New York University Press 2001 ISBN 978 0814736043 Nye S Minimal Understandings The Berlin Decade The Minimal Continuum and Debates on the Legacy of German Techno in Journal of Popular Music Studies 25 no 2 2013 154 84 Pesch M Author Weisbeck M Editor Techno Style The Album Cover Art Edition Olms 5Rev Ed edition 1998 ISBN 978 3283002909 Rietveld H C This is Our House House Music Cultural Spaces and Technologies Ashgate Publishing Aldershot 1998 ISBN 978 1857422429 Reynolds S Energy Flash a Journey Through Rave Music and Dance Culture Pan Macmillan 1998 ISBN 978 0330350563 Reynolds S Generation Ecstasy Into the World of Techno and Rave Culture Routledge New York 1999 ISBN 978 0415923736 Soft Skull Press 2012 ISBN 978 1593764074 1 Reynolds S Energy Flash a Journey Through Rave Music and Dance Culture Faber and Faber 2013 ISBN 978 0571289134 2 Savage J The Hacienda Must Be Built International Music Publications 1992 ISBN 978 0863598579 Sicko D Techno Rebels The Renegades of Electronic Funk Billboard Books 1999 ISBN 978 0823084289 Sicko D Techno Rebels The Renegades of Electronic Funk 2nd ed Wayne State University Press 2010 ISBN 978 0814334386 St John G ed Rave Culture and Religion New York Routledge 2004 ISBN 978 0415314497 St John G ed FreeNRG Notes From the Edge of the Dance Floor Common Ground Melbourne 2001 ISBN 978 1863350846 St John G Technomad Global Raving Countercultures London Equinox 2009 ISBN 978 1 84553 626 8 Toop D Ocean of Sound Serpent s Tail 2001 new edition ISBN 978 1852427436 Watten B The Constructivist Moment From Material Text to Cultural Poetics Wesleyan University Press 2003 ISBN 978 0819566102 Filmography editHigh Tech Soul Catalog No PLX 029 Label Plexifilm Released 19 September 2006 Director Gary Bredow Length 64 minutes Paris Berlin 20 Years Of Underground Techno Label Les Films du Garage Released 2012 Director Amelie Ravalec Length 52 minutes We Call It Techno A documentary about Germany s early Techno scene and culture Label Sense Music amp Media Berlin DE Released June 2008 Directors Maren Sextro amp Holger Wick Tresor Berlin The Vault and the Electronic Frontier Label Pyramids of London Films Released 2004 Director Michael Andrawis Length 62 minutes Technomania Released 1996 screened at NowHere an exhibition held at Louisiana Museum of Modern Art Denmark between 15 May and 8 September 1996 Director Franz A Pandal Length 52 minutes Universal Techno on YouTube Label Les Films a Lou Released 1996 Director Dominique Deluze Length 63 minutes External links editTechno Live Sets The 1 resource for Techno sets From the Autobahn to I 94 The Origins of Detroit Techno and Chicago House reminiscences in 2005 by techno and house innovators Sounds Like Techno online historical documentary produced by the Australian Broadcasting Corporation ABC Techno from past years Oldie but goldie classic techno sets Generation Ecstasy is based on Energy Flash but is a unique edition significantly rewritten for the North American market Its copyright date is 1998 but it was first published July 1999 This 2013 edition is expanded to include coverage of dubstep and the EDM boom in North America Retrieved from https en wikipedia org w index php title Techno amp oldid 1194106458, wikipedia, wiki, book, books, library,

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