Techno

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This article is about the type of music. For the fictional character, see Fixer (comics). For the prefix, see wikt:techno-. For electronic music in general, see Electronic music and Electronic dance music.
Techno
Stylistic origins House, electro, synthpop, chicago house, EBM, hi-NRG, acid house, Detroit techno
Cultural origins Mid-1980s,
Detroit, United States
Typical instruments Synthesizer, keyboards, sampler, drum machine, sequencer, personal computer
Derivative forms Alternative dance
Subgenres
Acid techno, ambient techno, minimal techno, tech house
Fusion genres
Digital hardcore, dub techno, kuduro, electroclash,[1] eurodance, ghettotech, IDM, techstep, techstyle, trance
Regional scenes
Detroit techno, Freetekno, Nortec, Schranz
Other topics
Electronic musical instrumentcomputer musicrecord labelsravesfree partyteknival

Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s.[2] The first recorded use of the word techno in reference to a specific genre of music was in 1988.[3][4] Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.[5]

The initial take on techno arose from the melding of electronic music, in the style of artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra, with African American music styles, including funk, electro, Chicago house and electric jazz.[6] Added to this is the influence of futuristic and fictional themes[7] relevant to life in American late capitalist society, with Alvin Toffler's book The Third Wave being a notable point of reference.[8][9] Pioneering producer Juan Atkins cites Toffler's phrase "techno rebels" as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as afrofuturism. To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality.[10][11] In this manner: "techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness".[12]

Stylistically, techno is generally repetitive instrumental music, oftentimes produced for use in a continuous DJ set. The central rhythmic component is most often in common time (4/4), where time is marked with a bass drum on each quarter note pulse, a backbeat played by snare or clap on the second and fourth pulses of the bar, and an open hi-hat sounding every second eighth note. The tempo tends to vary between approximately 120 to 150 beats per minute (bpm), depending on the style of techno. The creative use of music production technology, such as drum machines, synthesizers, and digital audio workstations, is viewed as an important aspect of the music's aesthetic. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers.

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. "Techno" is also commonly confused with generalized descriptors, such as electronic music and electronic dance music.[13][14][15]

Origins[edit]

See also: Detroit techno

The initial blueprint for techno developed during the mid-1980s in Belleville, Michigan, a suburb of Detroit by Juan Atkins, Kevin Saunderson, Derrick May (the so-called Belleville Three), all of whom attended school together at Belleville High,[16][17][18][19] with the addition of Eddie Fowlkes, Blake Baxter and James Pennington. By the close of the 1980s, the pioneers had recorded and released material under various guises: Atkins as Model 500, Flintstones, and Magic Juan; Fowlkes simply as Eddie "Flashin" Fowlkes; Saunderson as Reese, Keynotes, and Kaos; with May as Mayday, R-Tyme, and Rhythim Is Rhythim. There were also a number of joint ventures, the most commercially successful of which[citation needed] was Kevin Saunderson's group Inner City, which saw collaborations with Atkins, May, vocalist Paris Grey, and fellow DJs James Pennington and [Arthur Forest].[20]

Notable influences[edit]

Kraftwerk's Computer World (1981), first popularized in the U.S. by radio station WLBS-FM,[21] "Detroit’s version of New York’s disco WBLS".[22]

In exploring 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."[23] 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."[24] Atkins has also claimed he was unaware of Kraftwerk's music prior to his collaboration with Richard "3070" Davis as Cybotron, which was two years after he had first started experimenting with electronic instruments.[25] 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.[26]

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!".[27] May has commented that he considered his music a direct continuation of the European synthesizer tradition.[28] He also identified Japanese synthpop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk.[29] 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.[30]

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."[28]

School days[edit]

Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians, "mix" tape traders, and aspiring DJs.[31] 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.[32] 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.[33] 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'[34] came out, that just put the last nail in the coffin of disco music.[24]

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[35][36] (also referred to as Deep Space).[37] 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.[24]

During the late 1970s/early 1980s high school clubs such as Brats, Charivari, Ciabattino,Comrades,Dwight & Company, Gables, Hardwear, Next Phase, Rafael,Remnique,The Lettermen, Rumours, Snobs, and Weekends[38] created the incubator in which techno was grown. These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with new DJs (Darryl Shannon, Delano Smith, Allan Heath) and their music. As these local clubs grew in popularity, groups of DJs began to band together to market their mixing skills and sound systems to the clubs in order to cater to the growing audiences of listeners. Locations like local church activity centers, vacant warehouses, offices, and YMCA auditoriums were the early locations where underage crowds gathered and the musical form was nurtured and defined.[39]

the Cybotron release "Clear" from 1983.

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Juan Atkins[edit]

Main articles: Juan Atkins and Cybotron (band)

Of the four individuals responsible for establishing techno as a genre in its own right, Juan Atkins is widely cited as "The Originator".[40] Atkins' role was likewise acknowledged in 1995 by the American music technology publication Keyboard Magazine, which honored Atkins as one of 12 Who Count in the history of keyboard music.[41]

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,[42] the most successful of which were Clear (1983) and its moodier followup, "Techno City" (1984).[43][44]

According to a recent bio on MySpace, Atkins claims to have "coined the term techno to describe their music, taking as one inspiration the works of Futurist and author Alvin Toffler, from whom he borrowed the terms 'cybotron' and 'metroplex.' Atkins has used the term to describe earlier bands that made heavy use of synthesizers, such as Kraftwerk, although many people would consider Kraftwerk's music and Juan's early music in Cybotron as electro."[45] 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.[46]

Eventually, Atkins started producing his own music under the pseudonym Model 500, and in 1985 he established the record label Metroplex.[47] The same year saw an important turning point for the Detroit scene with the release of Model 500's "No UFOs," a seminal work that is generally considered the first techno production.[48][49][50][51][52] Of this time, Atkins has said:

When I started Metroplex around February or March of '85 and released "No UFOs," 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 UFOs,' he took copies out to Chicago and gave them to some DJs, and it just happened.[24]

Detroit sound[edit]

Main article: Detroit techno

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 electronic dance music into uncharted terrain. They deliberately rejected the Motown legacy and traditional formulas of R&B and soul, and instead embraced technological experimentation.[53][54][55][56]

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[53]

The resulting Detroit sound was interpreted by Derrick May and one journalist in 1988 as a "post-soul" sound with no debt to Motown,[54][55] but by another journalist a decade later as "soulful grooves" melding the beat-centric styles of Motown with the music technology of the time.[57] May famously 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."[54][55] 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."[58]

"Strings of Life" (1987) by Rhythim is Rhythim (Derrick May) was a seminal Detroit techno track.

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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).[59] 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."[60]

The Detroit sound exerted an influence on widely differing styles of electronic music, yet it also maintained an identity as a genre in its own right, one now commonly referred to as "Detroit techno."

Chicago[edit]

The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and influenced by house in particular.[61][62] May's 1987/1989 hit "Strings of Life" (released under the alias Rhythim Is Rhythim) is considered a classic in both the house and techno genres.[62][63][64]

Juan Atkins also believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound.[65] Atkins also suggests that the Chicago house sound developed as a result of Frankie Knuckles' using a drum machine he bought from Derrick May.[66] 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.[24]

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.[67]

Acid house[edit]

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.[67] 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 [68] 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.[69]

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 Detroit clubs catching up later;[70] but in 1987, it was "Strings of Life" which eased London club-goers into acceptance of house, according to DJ Mark Moore.[71][72]

The New Dance Sound of Detroit[edit]

Cover art for the 1988 compilation album, Techno! The New Dance Sound of Detroit

The explosion of interest in underground dance music during the late 1980s provided a context for the development of techno as an identifiable genre. The mid-1988 UK release of Techno! The New Dance Sound of Detroit,[73][74] 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, was an important milestone and marked the introduction of the word techno in reference to a specific genre of music.[3][4] Although the compilation put techno into the lexicon of music journalism, the music was, for a time, sometimes characterized as Detroit's high-tech interpretation of Chicago house rather than a relatively pure genre unto itself.[4][75] In fact, the compilation's working title had been The House Sound of Detroit until the addition of Atkins' song "Techno Music" prompted reconsideration.[73][76] 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.[4][76][77]

"Techno Music" by Juan Atkins was the title track of Techno! The New Dance Sound of Detroit (1988).

The album also included "Big Fun" (1988) by Inner City (Kevin Saunderson and Paris Grey), a track that achieved significant commercial success as a single release in fall 1988.[78]

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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.[73]

Commercially, the release did not fare as well as expected, and it failed to recoup, however Inner City's production "Big Fun" (1988), a track that was almost not included on the compilation, became a massive crossover hit in fall 1988.[78] 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.[78] According to May, ZTT label boss Trevor Horn had envisaged that the trio would be marketed as a "black Petshop Boys." [79]

Despite Virgin Records' disappointment with the poor sales of Rushton's compilation,[80] 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.[81] 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.[82][83]

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 November 24, 1989, with Derrick May playing "Strings of Life" along with a recording of clock tower bells.[84] 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.[84]

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."[84]

Developments[edit]

UR Featured on the cover of The Wire, November 2007

As the original 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[85] to the distinctly anti-commercial sentiments[86] 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".[87] The Birmingham-based label Network Records label was instrumental in introducing Detroit techno to British audiences.[88] By the late 1980s and 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.[82]

Exodus[edit]

In America, apart from regional scenes in Detroit, New York, and Chicago, interest was limited. Producers from Detroit, frustrated by the lack of opportunity in their home country, looked to Europe for their future livelihood.[89] This first wave of Detroit expatriates was soon joined by a number of up-and-coming artists, the so-called "second wave", including Carl Craig, Octave One, Jay Denham, Kenny Larkin, and Stacey Pullen, with UR's Jeff Mills, Mike Banks, and Robert Hood pushing their own unique sound. A number of New York producers were also making an impression at this time, notably Frankie Bones, Lenny Dee, and Joey Beltram. In the same period, close to Detroit (Windsor, Ontario), Richie Hawtin, with business partner John Acquaviva, launched the influential imprint Plus 8 Records.[90]

Developments in American-produced techno between 1990 and 1992 fueled the expansion and eventual divergence of techno in Europe, particularly in Germany.[91][92] In Berlin, following the closure of a free party venue called Ufo, the club Tresor opened in 1991. The venue was for a time the standard bearer for techno and played host to many of the leading Detroit producers, some of whom relocated to Berlin.[93] By 1993, as interest in techno in the UK club scene started to wane, Berlin was considered the unofficial techno capital of Europe.[94]

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.[95]

German techno scene[edit]

Germany's engagement with American underground dance music during the 1980s paralleled that in the UK. By 1987 a German party scene based around the Chicago sound was well established. The following year (1988) saw acid house making as significant an impact on popular consciousness in Germany as it had in England.[96] In 1989 German DJs Westbam and Dr. Motte established the Ufo club, an illegal party venue, and co-founded the Love Parade.[97] After the Berlin Wall fell on 9 November 1989, free underground techno parties mushroomed in East Berlin, and a rave scene comparable to that in the UK was established.[97] 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.[98]

Doorway to Dorian Gray, the Frankfurt venue famed for the Talla 2XLC run Technoclub.

In 1991 a number of party venues closed, including Ufo, and the Berlin Techno scene centered itself around three locations close to the foundations of the Berlin Wall: Planet (later renamed E-Werk by Paul van Dyk),[99] Der Bunker, and the relatively long-lived Tresor.[100] It was in Tresor at this time that a trend in paramilitary clothing was established (amongst the techno fraternity) by a DJ called Tanith;[101] possibly as an expression of a commitment to the underground aesthetic of the music, or perhaps influenced by UR's paramilitary posturing.[102] In the same period, German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into hardcore.[103] DJ Tanith commented at the time that "Berlin was always hardcore, hardcore hippie, hardcore punk, and now we have a very hardcore house sound."[99] 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.[104]

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 centred 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 Vath had become perhaps the first DJ in Germany to be worshipped like a rock star. He performed centre 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. 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 discotech 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.[105]

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, DJ 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 characterised by Simon Reynolds as "moribund, middlebrow Electro-Trance music, as represented by Frankfurt's own Sven Vath and his Harthouse label." [106]

Tekkno versus techno[edit]

Flyer for a Tekknozid Tekkno rave held in December 1990.

In Germany, fans started to refer to the harder techno sound emerging in the early 1990s as Tekkno (or Bretter).[97] 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.[78] Talla, in the early to mid-1980s, worked in City Music at Frankfurt Station and began to categorize artists such as New Order, Depeche Mode, Kraftwerk, Heaven 17 and Front 242 under the heading techno, to sum up all technologically created music. In 1984 Talla started an event called Technoclub on Sunday afternoons at Frankfurts Disco No name, which then moved to the Dorian Gray club in 1987. 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 electronic music. Technoclub was "more or less an underground thing for suburban kids," it was, according to Laarmann, "never really hip to go there."[105]

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. 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 epitomised "being against something," but of acid house he said, "it's electronic, it's fun it's nice." 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." [78]

A Techno Alliance[edit]

In 1993, the German techno label Tresor Records released the compilation album Tresor II: Berlin & Detroit – A Techno Alliance,[107] 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.[92] 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[92] 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 electronic dance music of the 1980s: Düsseldorf's Kraftwerk. Even the dance sounds of Chicago also had a German connection, as it was in Munich that Giorgio Moroder and Pete Bellotte first produced the 1970s Eurodisco synthpop sound.[97]

Robert Hood: notable techno minimalist.

Minimal techno[edit]

Main article: Minimal techno

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").[108] 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.[109] 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".[110] 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.[18]

Jazz influences[edit]

Some techno has also been influenced by or directly infused with elements of jazz.[111] This led to increased sophistication in the use of both rhythm and harmony in a number of techno productions.[112] Manchester (UK) based techno act 808 State helped fuel this development with tracks such as "Pacific State"[113] and "Cobra Bora" in 1989.[114] Detroit producer Mike Banks was heavily influenced by jazz, as demonstrated on the influential Underground Resistance release Nation 2 Nation (1991).[115] 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)[95] 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.[115][116] 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,[117][118] Other notable artists who set about expanding upon the structure of "classic techno" include Dan Curtin, Morgan Geist, Titonton Duvante and Ian O'Brien.[119]

Intelligent techno[edit]

The Warp Records compilation Artificial Intelligence popularised the notion of Intelligent 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."[120] By 1992 a number of European producers and labels began to associate rave culture with the corruption and commercialization of the original techno ideal.[121] 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."[122]

The term intelligent techno was used to differentiate more sophisticated versions of underground techno [123] 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[124] 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.[125]

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,[126] but all were used to describe an emerging form of post-rave dance music for the "sedentary and stay at home".[127] Following the commercial success of the compilation in the United States, Intelligent Dance Music eventually became the phrase most commonly used to describe 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), New Electronica (1993), Mille Plateaux (1993), 100% Pure (1993), and Ferox Records (1993).

Free techno[edit]

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.[128] 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.[129]

This one event was largely responsible for the introduction in 1994 of the Criminal Justice and Public Order Act;[130] 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.[129] In the rest of Europe, due in some part to the inspiration of traveling sound systems from the UK,[129] rave enjoyed a prolonged existence as it continued to expand across the continent.[91]

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.[129]

Divergence[edit]

By 1994 there were a number of techno producers in the UK and Europe building on the Detroit sound, but a growing range of 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, some of which bore little, if any, relation to the original techno sound; jungle (drum and bass) being a primary example, its origins having more to do with hip-hop, soul, and reggae, than with the electronic dance music from Detroit and Chicago.

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. Some examples not already mentioned are trance, industrial techno, breakbeat hardcore, acid techno, and happy hardcore. Less well-known styles related to techno or its subgenres include the primarily Sheffield (UK) based bleep techno, a regional variant that had some success between 1989 and 1991, and a scene that was responsible for putting Warp Records on the map (largely as a result of its fifth release, LFO's self-titled 12″).[citation needed]

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), 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 alter of American techno with a total unwillingness to compromise." [131]

By the end of the 1990s, a number of post-techno [132] 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, the so-called no-beat techno,[133] and electroclash.[1]

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."[79]

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".[134][135][136]

The R&B artist, Missy Elliott, inadvertently 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.[137]

In recent years, the publication of relatively accurate histories by authors Simon Reynolds (Generation Ecstasy aka Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the Detroit Electronic Music Festival, have helped to diffuse the genre's more dubious mythology.[138] 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.[139][140][141][142]

Antecedents[edit]

Proto-techno[edit]

The popularity of Euro disco and Italo disco—referred to as progressive in Detroit—and new romantic synthpop in the Detroit high school party scene from which techno emerged[143] has prompted a number of commentators to try and 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.[23][144][145] The search for a mythical "first techno record" leads such commentators to consider music from long before from 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, Duran Duran, Depeche Mode, The Human League, and Heaven 17), they point to examples such as "Sharevari" (1981) by A Number of Names,[146] danceable selections from Kraftwerk (1977–83), the earliest compositions by Cybotron (1981), Donna Summer and Giorgio Moroder's "I Feel Love" (1977), Moroder's "From Here to Eternity" (1977), and Manuel Göttsching's "proto-techno masterpiece"[145] E2-E4 (1981). Another example is a record entitled Love in C minor, released in 1976 by Parisian Euro disco 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.[147] Yet another example is Yellow Magic Orchestra's work which has been described as "proto-techno"[148][149] YMO had also used the prefix "techno" in a number of titles including the song "Technopolis" (1979), the album Technodelic (1981), and a rare flexi disc EP, "The Spirit of Techno" (1983).

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."[150] 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 electronic dance music. 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."[151]

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."[152] 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 electronic dance music 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.[153] 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.[154]

The main drum part is almost universally in common time (4/4); meaning 4 quarter note pulses per bar.[155] 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 disco (or even polka) drum pattern and is common throughout house music and house-influenced genres such as techno. 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."[141]

Compositional techniques[edit]

Example of a professional production environment

There are many ways to create techno, but the vast 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,[156] 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 unique timbres and effects but technical proficiency is required for the technology to be exploited creatively. 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 utilizing 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.[157]

Once a single loop based arrangement has been generated, a producer may then focus on developing a temporal framework. This is a process of dictating 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.[158]

Instruments used by the original techno producers based in Detroit, many of which are now 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).[87] 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.[159]

The TR-808 and TR-909 drum machines have since achieved legendary status, a fact that is now 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:[160]

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?)
Reason: a popular software based music production environment

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.[161] Such prices have held in the 12 years since the article was published, this can be evidenced by a quick search on eBay. 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." [158]

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.[162] 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".[163] 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".[164] 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.[165]

In March 2001, with the release of Reason V1, Propellerhead upped the ante in providing a £300 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."[166] Reason has since achieved popular appeal and is as of 2011 at version 6.[167]

Technological advances[edit]

In recent years, as computer technology has become more accessible and music software has advanced, interacting with music production technology is now possible using means that bear no relationship to traditional musical performance practices:[168] for instance, laptop performance (laptronica)[169] and live coding.[170][171] In the last decade a number of software-based virtual studio environments have emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal.[172] These software-based music production tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it is now possible to create high quality music using little more than a single laptop computer. Such advances have democratized music creation,[173] leading to a massive increase in the amount of home-produced music available to the general public via the internet. Artists can now also individuate their sound by creating personalized software synthesizers, effects modules, and various composition environments. Devices that once existed exclusively in the hardware domain can easily have virtual counterparts. Some of the more popular software tools for achieving such ends are commercial releases such as Max/Msp and Reaktor and freeware packages such as Pure Data, SuperCollider, and ChucK. In some sense, as a result of technological innovation, the DIY mentality that was once a core part of dance music culture[174][175] is seeing a resurgence.[176][177]

Other notable artists[edit]

See also[edit]

Bibliography[edit]

Filmography[edit]

  • High Tech Soul – Catalog No.: PLX-029; Label: Plexifilm; Released: 2006-09-19; 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 NowHere, an exhibition held at Louisiana Museum of Modern Art, Denmark, between May 15 and September 8, 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.
  • Kvadrat (film) - documentary feature film, exploring the realities of techno DJing, using the example of Russian DJ Andrey Pushkarev. Released: October 2013; Director: Anatoly Ivanov; Length: 107 minutes.

References[edit]

  1. ^ a b Carpenter, Susan (August 6, 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 1997, but most fans view this term with suspicion as a marketing label devised by the music industry".
  3. ^ a b Brewster 2006:354
  4. ^ 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 as a distinct genre.
  5. ^ Keyboard Magazine (231). July 1995. 
  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. ^ Kodwo 1998
  11. ^ Reynolds 1999:51. ...techno artists often talk about what they do in the seemingly inappropriate language of traditional humanist art – 'expression', 'soul', 'authenticity', 'depth'.
  12. ^ Mc Leod, K.,"Space oddities: aliens, futurism and meaning in popular music", Popular Music (2003) Volume 22/3. Copyright 2003 Cambridge University Press, pp. 337–355.
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  15. ^ Schoemer, Karen (1997-02-10). "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.
  16. ^ Brewster 2006:340–359
  17. ^ Cosgrove 1988a.
  18. ^ a b Sicko 1999
  19. ^ Reynolds 1999:12–40
  20. ^ "Release info & credits for Inner City's "Big Fun" original 12" single". Discogs.com. Retrieved 2010-06-14. 
  21. ^ Nielsen Business Media, Inc (1981-07-04). "7 tons of sound: German Kraftwerk". Billboard. Retrieved 2010-10-29 
  22. ^ Gholz, Carlton (2004-07-14). "The search for Heaven – How Ken Collier, a gay black DJ, influenced a generation". Metro Times (Detroit). Retrieved 2010-10-29 
  23. ^ a b Kodwo 1998:100
  24. ^ a b c d e Trask, Simon (December 1988). "Future Shock". Music Technology Magazine. 
  25. ^ Sicko 1999:79
  26. ^ Sicko 1999:71
  27. ^ Silcott, M. (1999). Rave America: New school dancescapes. Toronto, ON: ECW Press.
  28. ^ a b Brewster 2006:349
  29. ^ "Derrick May on the roots of techno at RBMA Bass Camp Japan 2010". Red Bull Music Academy. YouTube. September 20, 2010. Retrieved 23 July 2012. 
  30. ^ Sicko 1999:49
  31. ^ "Techno music pulses in Detroit". CNN. 2003-02-13. Archived from the original on 2007-10-12. Retrieved 2007-08-11. 
  32. ^ Arnold, Jacob (1999-10-17). "A Brief History of Techno". Gridface. 
  33. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music, Throbbing Words on Sound. Caipirinha Productions, Inc. pp. 108–121. ISBN 189102406X. 
  34. ^ Funkadelic's, 1979 release, (Not Just) Knee Deep
  35. ^ Brewster 2006:350
  36. ^ Reynolds 1999:16–17.
  37. ^ Sicko 1999:56–58
  38. ^ 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.
  39. ^ Sicko 1999:33–42,54–59
  40. ^ 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.
  41. ^ Keyboard Magazine Vol. 21, No.7 (issue #231, July 1995).
  42. ^ Sicko 1999:74
  43. ^ 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'.
  44. ^ 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.
  45. ^ Unknown author. "Juan Atkins official Myspace page". Retrieved 2008-04-02. 
  46. ^ 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.
  47. ^ Sicko 1999:76
  48. ^ Sicko 2010:48-49
  49. ^ Butler 2006:43
  50. ^ Nelson 2001:154
  51. ^ "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." Cox, T. (2008), Model 500:Remake/remodel, interview with Atkins and Mike Banks hosted on www.residentadvisor.net
  52. ^ Interview with Detroit producer Alan Oldham hosted at Spannered.org. Oldham answers "The release of Model 500 No UFOs" when asked "what do you consider to be the most important turning points in the history of Detroit techno?"
  53. ^ 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!"
  54. ^ 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 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."
  55. ^ 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."
  56. ^ Rietveld 1998:124–127
  57. ^ Rietveld 1998:127
  58. ^ Atkins, Juan (1992-05-22). Dance Music Report (DMR) 15 (9): 19. ISSN 0883-1122. 
  59. ^ Unterberger R., Hicks S., Dempsey J, (1999). Music USA: The Rough Guide, Rough Guides Ltd; illustrated edition.(ISBN 9781858284217)
  60. ^ "Interview: Derrick May - The Secret of Techno". Mixmag. 1997. Retrieved 25 July 2012. 
  61. ^ Sicko 1999:77–78
  62. ^ a b McCollum, Brian (2002-05-22). Detroit Electronic Music Festival salutes Chicago connection. Detroit Free Press. Archived from the original on 2008-12-08. Retrieved 2008-04-04. 
  63. ^ 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"
  64. ^ "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.
  65. ^ Lawrence, Tim (2005-06-14). "Acid? Can You Jack? (Soul Jazz liner notes)". Retrieved 2008-04-03. 
  66. ^ Brewster 2006:353
  67. ^ a b Rietveld 1998:40–50
  68. ^ 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.
  69. ^ Rietveld 1998:54–59
  70. ^ Brewster 2006:398–443
  71. ^ 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.
  72. ^ 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.
  73. ^ a b c Sicko 1999:98
  74. ^ Techno! The New Dance Sound of Detroit info at Discogs.com
  75. ^ 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.
  76. ^ a b Bishop, Marlon; Glasspiegel, Wills (2011-06-14). "Juan Atkins [interview for Afropop Worldwide]". World Music Productions. Retrieved 2011-06-17. 
  77. ^ 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 word techno. They had it in their heads without articulating it; it was already part of their language."
  78. ^ a b c d e Sicko 2010:68
  79. ^ a b "DJ Derek May Profile". Fantazia Rave Archive. Retrieved 2009-01-10. 
  80. ^ Sicko 1999:98,101
  81. ^ Sicko 1999:100,102
  82. ^ a b Sicko 1999:95–120
  83. ^ Sicko 1999:102. Once Rushton and Atkins set techno apart with the Techno! 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.
  84. ^ a b c Sicko 1999:92–94
  85. ^ 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.
  86. ^ 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.
  87. ^ a b Sicko 1999:80
  88. ^ Price, Emmett George, ed. (2010), "Techno", Encyclopedia of African American Music 3, Santa Barbara, CA: ABC-CLIO, p. 942, ISBN 0313341990, retrieved 2013-07-06 
  89. ^ Reynolds 1999:219
  90. ^ Sicko 1999:121–160
  91. ^ a b Sicko 1999:161–184
  92. ^ a b c Reynolds 2006:228–229
  93. ^ Reynolds 1999:215
  94. ^ Sicko 1999:181
  95. ^ a b Shallcross, Mike (July 1997). "From Detroit To Deep Space". The Wire (161). p. 21. 
  96. ^ Short excerpt from special on German "Tele 5" from Dec. 8, 1988 on YouTube. The show is called "Tanzhouse" hosted by a young Fred Kogel. It includes footage from Hamburg's "Front" with Boris Dlugosch, Kemal Kurum's "Opera House" and the "Prinzenbar".
  97. ^ 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).
  98. ^ Messmer, S. (1998), Eierkuchensozialismus, TAZ, 10.7.1998, (p. 26).
  99. ^ a b Brewster 2006:361
  100. ^ Henkel, O.; Wolff, K. (1996) Berlin Underground: Techno und Hiphop; Zwischen Mythos und Ausverkauf, Berlin: FAB Verlag, (pp. 81–83).
  101. ^ Reynolds 1999:112
  102. ^ Sicko 1999:145
  103. ^ 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.
  104. ^ Reynolds 1999:110
  105. ^ a b Sextro, M. & Wick H. (2008), We Call It Techno!, Sense Music & Media, Berlin, DE.
  106. ^ 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.
  107. ^ Tresor II: Berlin & Detroit – A Techno Alliance album details at Discogs
  108. ^ Sicko 1999:199–200
  109. ^ Mike Banks interview, The Wire, Issue #285 (November '07)
  110. ^ Osselaer, John (2001-02-01). "Robert Hood interview". Overload Media/Spannered. Retrieved 2011-12-02. 
  111. ^ Rubin, Mike (2001-09-30). "Techno Dances With Jazz". New York Times. Retrieved 2011-12-02.  "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.).
  112. ^ Sicko 1999:198
  113. ^ 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: Haçienda, sleeve notes for album release of the same name, retrieved from the authors website
  114. ^ Butler 2006:114. Graham Massey has discussed the use of unusual meters in 808 State's music commenting online on June 18, 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).
  115. ^ a b Kodwo 1998:127
  116. ^ "Galaxy 2 Galaxy – A Hi Tech Jazz Compilation". Submerge. Retrieved 2008-07-21.  "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'."
  117. ^ "Dave Angel: Background Overview at Discogs". 2003-02-13. Retrieved 2007-08-11. 
  118. ^ Angelic Upstart: Mixmag interview with Dave Angel detailing his interest in jazz. Retrieved from Techno.de
  119. ^ Sicko 2010:138-139
  120. ^ Brewster 2006:364
  121. ^ Reynolds 1999:183
  122. ^ Reynolds 1999:182
  123. ^ Anker M., Herrington T., Young R. (1995), New Complexity Techno, The Wire, Issue #131 (January '95)
  124. ^ Tracklisting for the Warp Records 1992 compilation Artificial Intelligence
  125. ^ Birke S. (2007), "Label Profile: Warp Records", The Independent (UK), Music Magazine (supplement), newspaper article published 2007-02-11
  126. ^ "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.
  127. ^ Reynolds 1999:181
  128. ^ 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.
  129. ^ a b c d St. John 2001:100–101
  130. ^ "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 2006-01-17. 
  131. ^ Bush, Calvin, Techno - The Final Frontier?, Muzik, Issue No.4, September 1995, p.48-50
  132. ^ Cox 2004:414. Any form of electronica genealogically related to Techno but departing from it in one way or another.
  133. ^ Loubet E.& 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.
  134. ^ Ross, Andrew; Lysloff, René; Gay, Leslie (2003). Music and Technoculture. Wesleyan University Press. pp. 185–186. ISBN 0-8195-6514-8. 
  135. ^ Chaplin, Julia & Michel, Sia. Fire Starters, Spin Magazine, page 40, March 1997, Spin Media LLC.
  136. ^ Guiccione, Bob Jr.,Live to Tell, Spin Magazine, page 95, January 1996, Spin Media LLC.
  137. ^ Cinquemani, Sal. "Miss E...So Addictive". Slant Magazine. Retrieved 2009-12-21. 
  138. ^ Gorell, Robert. "Permanent record: Jeff Mills talks Detroit techno and the exhibit that hopes to explain it.". Metro Times. Retrieved 2007-08-11. 
  139. ^ "Ford Unveils New Limited Street Edition Focus" (Press release). Ford Motors. 2000-10-06. Retrieved 2009-01-10. ""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." 
  140. ^ "New Ford Focus Commercial Features Ground Breaking Juan Atkins' Techno Hit" (Press release). 2000-11-08. 
  141. ^ a b McGarvey, Sterling. "Derrick May". Lunar Magazine. 
  142. ^ Baishya, Kopinjol (2005-10-17). "Techno as it should be: Juan Atkins and minimal techno". Chicago Flame. 
  143. ^ Sicko 1999:45–49
  144. ^ Brewster 2006:343–346
  145. ^ a b Reynolds 1999:190
  146. ^ Gillen, Brendan (2001-11-21). "Name that number: The history of Detroit's first techno record". Metro Times Detroit. Retrieved 2009-01-10. 
  147. ^ Sicko 1999:48
  148. ^ Keyboard, Volume 19, Issues 7-12. GPI Publications. 1993. p. 28. Retrieved 2011-06-04. 
  149. ^ Peter Stenshoel (May 18, 2011). "Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi". KPCC. Retrieved 2011-06-04. 
  150. ^ "Raymond Scott's Manhattan Research". 2006-02-21. Retrieved 2007-08-11.  Extensive collection of review excerpts hosted on the Raymond Scott website.
  151. ^ Wrench, Nigel (2008-07-18). "Lost tapes of the Dr Who composer". BBC News. Retrieved 2009-01-10. 
  152. ^ Butler 2006:12–13,94
  153. ^ 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, July 15–20, 1991.
  154. ^ Pope, R. (2011), Hooked on an Affect: Detroit Techno and Dystopian Digital Culture, Dancecult: Journal of Electronic Dance Music Culture 2 (1): p. 38
  155. ^ Butler 2006:8
  156. ^ Butler 2006:208–209,214
  157. ^ Butler 2006:94
  158. ^ a b System 7 interview with Mark Roland in: Muzik, Issue No.4, September 1995, p.97
  159. ^ Keyboard Magazine Vol. 21, No.7 (issue #231), July 1995, 12 Who Count: Juan Atkins.
  160. ^ 909 LIVES!: Overview of the Roland TR-909 drum machine published by Sound on Sound magazine in November 1995.
  161. ^ 808 Statement: Overview of the Roland TR-808 drum machine published by Sound on Sound magazine in May 1997.
  162. ^ BORN WIBBLY Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the original ReBirth RB-338 published by Sound on Sound magazine in August 1997
  163. ^ THE COOL OF REBIRTH Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the ReBirth RB-338 V2 published by Sound on Sound magazine in November 1998
  164. ^ Jim Aikin, Keyboard Magazine, reprinted in Software Synthesizers: The Definitive Guide to Virtual Musical Instruments. Backbeat Books, 2003.
  165. ^ ReBirth Museum
  166. ^ REASONS TO BE CHEERFUL Propellerhead Software Reason Virtual Music Studio. Published by Sound on Sound magazine in March 2001
  167. ^ Overview of Reason 6 hosted at the Propellerhead website.
  168. ^ Emmerson, S. (2007), Living Electronic Music, Ashgate, Adlershot, pp. 111–113.
  169. ^ Emmerson, S. (2007), pp. 80–81.
  170. ^ Emmerson, S. (2007), pp. 115.
  171. ^ Collins, N.(2003a), Generative Music and Laptop Performance, Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 67–79.
  172. ^ "23rd Annual International Dance Music Awards Nominees & Winners". Retrieved 2009-01-14.  Best Audio Editing Software of the Year – 1st Ableton Live, 4th Reason. Best Audio DJ Software of the Year – Ableton Live.
  173. ^ Chadabe, J., Electronic music and life, Organised Sound, 9(1): 3–6, 2004 Cambridge University Press, United Kingdom.
  174. ^ St. John, G.(ed.), FreeNRG: Notes From the Edge of the Dance Floor, Common Ground, Melbourne, 2001,(pp. 93–102).
  175. ^ 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.
  176. ^ Indy Media item mentioning DIY resurgence: One year of DIY Culture
  177. ^ Gillmor, D., Technology feeds grassroots media, BBC news report, published Thursday, 9 March 2006, 17:30 GMT.
  178. ^ 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.
  179. ^ This 2013 edition is expanded to include coverage of dubstep and the EDM boom in North America.

External links[edit]

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