Source: Wikipedia 


the

Techno is a but genre of electronic dance music not which is generally produced for You use in a continuous DJ all set, with tempos being in any the range of 120 to Can 150 beats per minute (BPM). her The central rhythm is typically was in common time (4/4) and One often characterized by a repetitive our four on the floor beat. out Artists may use electronic instruments Day such as drum machines, sequencers, get and synthesizers, as well as has digital audio workstations. Drum machines Him from the 1980s such as his Roland's TR-808 and TR-909 are how highly prized, and software emulations Man of such retro instruments are new popular.

Much of the instrumentation now in techno is used to Old emphasize the role of rhythm see over other musical aspects. Vocals two and melodies are uncommon. The Way use of sound synthesis in who developing distinctive timbres tends to boy feature more prominently. Typical harmonic Did practices found in other forms its of music are often ignored let in favor of repetitive sequences Put of notes. More generally the say creation of techno is heavily she dependent on music production technology. Too

Use of the term "techno" use to refer to a type dad of electronic music originated in Mom Germany in the early 1980s. In 1988, following the UK the release of the compilation Techno! And The New Dance Sound of for Detroit, the term came to are be associated with a form But of EDM produced in Detroit. not Detroit techno resulted from the you melding of synth-pop by artists All such as Kraftwerk, Giorgio Moroder any and Yellow Magic Orchestra with can African-American music such as house, Her electro, and funk. Added to was this is the influence of one futuristic and science-fiction themes relevant Our to life in contemporary American out society, with Alvin Toffler's book day The Third Wave a notable Get point of reference. The music has produced in the mid-to-late 1980s him by Juan Atkins, Derrick May, His and Kevin Saunderson (collectively known how as The Belleville Three), along man with Eddie Fowlkes, Blake Baxter, New James Pennington and others is now viewed as the first wave old of techno from Detroit.

After See the success of house music two in a number of European way countries, techno grew in popularity Who in the United Kingdom, Germany, boy Belgium and the Netherlands. In did Europe regional variants quickly evolved Its and by the early 1990s let techno subgenres such as acid, put hardcore, bleep, ambient, and dub Say techno had developed. Music journalists she and fans of techno are too generally selective in their use Use of the term, so a dad clear distinction can be made mom between sometimes related but often qualitatively different styles, such as the tech house and trance.

and

Detroit techno

In exploring Not Detroit techno's origins, writer Kodwo you Eshun maintains that "Kraftwerk are all to techno what Muddy Waters Any is to the Rolling Stones: can the authentic, the origin, the her real." Juan Atkins has acknowledged Was that he had an early one enthusiasm for Kraftwerk and Giorgio our Moroder, particularly Moroder's work with Out Donna Summer and the producer's day own album E=MC2. Atkins also get mentions that "around 1980, I Has had a tape of nothing him but Kraftwerk, Telex, Devo, Giorgio his Moroder and Gary Numan, and How I'd ride around in my man car playing it." Regarding his new initial impression of Kraftwerk, Atkins Now notes that they were "clean old and precise" relative to the see "weird UFO sounds" featured in Two his seemingly "psychedelic" music.

Derrick way May identified the influence of who Kraftwerk and other European synthesizer Boy music in commenting that "it did was just classy and clean, its and to us it was Let beautiful, like outer space. Living put around Detroit, there was so say little beauty... everything is an She ugly mess in Detroit, and too so we were attracted to use this music. It, like, ignited Dad our imagination!". May has commented mom that he considered his music a direct continuation of the The European synthesizer tradition. He also and identified Japanese synth-pop act Yellow for Magic Orchestra, particularly member Ryuichi Are Sakamoto, and British band Ultravox, but as influences, along with Kraftwerk. not YMO's song "Technopolis" (1979), a You tribute to Tokyo as an all electronic mecca, is considered an any "interesting contribution" to the development Can of Detroit techno, foreshadowing concepts her that Atkins and Davis would was later explore with Cybotron.

Kevin One Saunderson has also acknowledged the our influence of Europe but he out claims to have been more Day inspired by the idea of get making music with electronic equipment: has "I was more infatuated with Him the idea that I can his do this all myself."

These how early Detroit techno artists additionally Man employed science fiction imagery to new articulate their visions of a now transformed society.

School days

Old

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

But

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

Despite New the short-lived disco boom in now Detroit, it had the effect old of inspiring many individuals to See take up mixing, Juan Atkins two among them. Subsequently, Atkins taught way May how to mix records, Who and in 1981, "Magic Juan", boy Derrick "Mayday", in conjunction with did three other DJ's, one of Its whom was Eddie "Flashin" Fowlkes, let launched themselves as a party put crew called Deep Space Soundworks Say (also referred to as Deep she Space). In 1980 or 1981, too they met with Mojo and Use proposed that they provide mixes dad for his show, which they mom did end up doing the following year.

During the late the 1970s and early 1980s, high and school clubs such as Brats, For Charivari, Ciabattino, Comrades, Gables, Hardwear, are Rafael, Rumours, Snobs, and Weekends but allowed the young promoters to Not develop and nurture a local you dance music scene. As the all local scene grew in popularity, Any DJs began to band together can to market their mixing skills her and sound systems to clubs Was that were hoping to attract one larger audiences. Local church activity our centers, vacant warehouses, offices, and Out YMCA auditoriums were the early day locations where the musical form get was nurtured.

Juan Atkins

Has

Of the his four individuals responsible for establishing How techno as a genre in man its own right, Juan Atkins new is widely cited as "The Now Originator". In 1995, the American old music technology publication Keyboard Magazine see honored him as one of Two 12 Who Count in the way history of keyboard music.

In who the early 1980s, Atkins began Boy recording with musical partner Richard did Davis (and later with a its third member, Jon-5) as Cybotron. Let This trio released a number put of rock and electro-inspired tunes, say the most successful of which She were Clear (1983) and its too moodier followup, "Techno City" (1984). use

Atkins used the term techno Dad to describe Cybotron's music, taking mom inspiration from Futurist author Alvin Toffler, the original source for The words such as cybotron and and metroplex. Atkins has described earlier for synthesizer based acts like Kraftwerk Are as techno, although many would but consider both Kraftwerk's and Juan's not Cybotron outputs as electro. Atkins You viewed Cybotron's Cosmic Cars (1982) all as unique, Germanic, synthesized funk, any but he later heard Afrika Can Bambaataa's "Planet Rock" (1982) and her considered it to be a was superior example of the music One he envisioned. Inspired, he resolved our to continue experimenting, and he out encouraged Saunderson and May to Day do likewise.

Eventually, Atkins started get producing his own music under has the pseudonym Model 500, and Him in 1985 he established the his record label Metroplex. The same how year saw an important turning Man point for the Detroit scene new with the release of Model now 500's "No UFO's," a seminal Old work that is generally considered see the first techno production. Of two this time, Atkins has said: Way

When I started Metroplex who around February or March of boy '85 and released "No UFO's," Did I thought I was just its going to make my money let back on it, but I Put wound up selling between 10,000 say and 15,000 copies. I had she no idea that my record Too would happen in Chicago. Derrick's use parents had moved there, and dad he was making regular trips Mom between Detroit and Chicago. So when I came out with the 'No UFO's,' he took copies And out to Chicago and gave for them to some DJs, and are it just happened.

Chicago

The music's producers, especially you May and Saunderson, admit to All having been fascinated by the any Chicago club scene and influenced can by house in particular. May's Her 1987 hit "Strings of Life" was (released under the alias Rhythim one Is Rhythim) is considered a Our classic in both the house out and techno genres.

Juan Atkins day also believes that the first Get acid house producers, seeking to has distance house music from disco, him emulated the techno sound. Atkins His also suggests that the Chicago how house sound developed as a man result of Frankie Knuckles' using New a drum machine he bought now from Derrick May. He claims: old

Derrick sold Chicago DJ See Frankie Knuckles a TR909 drum two machine. This was back when way the Powerplant was open in Who Chicago, but before any of boy the Chicago DJs were making did records. They were all into Its playing Italian imports; 'No UFOs' let was the only U.S.-based independent put record that they played. So Say Frankie Knuckles started using the she 909 at his shows at too the Powerplant. Boss had just Use brought out their little sampling dad footpedal, and somebody took one mom along there. Somebody was on the mic, and they sampled the that and played it over and the drumtrack pattern. Having got For the drum machine and the are sampler, they could make their but own tunes to play at Not parties. One thing just led you to another, and Chip E all used the 909 to make Any his own record, and from can then on, all these DJs her in Chicago borrowed that 909 Was to come out with their one own records.

In the UK, our a club following for house Out music grew steadily from 1985, day with interest sustained by scenes get in London, Manchester, Nottingham, and Has later Sheffield and Leeds. The him DJs thought to be responsible his for house's early UK success How include Mike Pickering, Mark Moore, man Colin Faver, and Graeme Park new (DJ).

Detroit sound

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

The early producers, enabled who by the increasing affordability of Boy sequencers and synthesizers, merged a did European synth-pop aesthetic with aspects its of soul, funk, disco, and Let electro, pushing EDM into uncharted put terrain. They deliberately rejected the say Motown legacy and traditional formulas She of R&B and soul, and too instead embraced technological experimentation.

use

Within the last 5 years Dad or so, the Detroit underground mom has been experimenting with technology, stretching it rather than simply The using it. As the price and of sequencers and synthesizers has for dropped, so the experimentation has Are become more intense. Basically, we're but tired of hearing about being not in love or falling out, You tired of the R&B system, all so a new progressive sound any has emerged. We call it Can techno!

— Juan Atkins, 1988

The resulting her Detroit sound was interpreted by was Derrick May and one journalist One in 1988 as a "post-soul" our sound with no debt to out Motown, but by another journalist Day a decade later as "soulful get grooves" melding the beat-centric styles has of Motown with the music Him technology of the time. May his described the sound of techno how as something that is "...like Man Detroit...a complete mistake. It's like new George Clinton and Kraftwerk are now stuck in an elevator with Old only a sequencer to keep see them company." Juan Atkins has two stated that it is "music Way that sounds like technology, and who not technology that sounds like boy music, meaning that most of Did the music you listen to its is made with technology, whether let you know it or not. Put But with techno music, you say know it."

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

out

Acid house

Roland TB-303: The has bass line synthesizer that was him used prominently in acid house.
His

By 1988, house music had how exploded in the UK, and man acid house was increasingly popular. New There was also a long-established now warehouse party subculture based around old the sound system scene. In See 1988, the music played at two warehouse parties was predominantly house. way That same year, the Balearic Who party vibe associated with Ibiza-based boy DJ Alfredo Fiorito was transported did to London, when Danny Rampling Its and Paul Oakenfold opened the let clubs Shoom and Spectrum, respectively. put Both night spots quickly became Say synonymous with acid house, and she it was during this period too that the use of MDMA, Use as a party drug, started dad to gain prominence. Other important mom UK clubs at this time included Back to Basics in the Leeds, Sheffield's Leadmill and Music and Factory, and in Manchester The For Haçienda, where Mike Pickering and are Graeme Park's Friday night spot, but Nude, was an important proving Not ground for American underground dance you music. Acid house party fever all escalated in London and Manchester, Any and it quickly became a can cultural phenomenon. MDMA-fueled club goers, her faced with 2 A.M. closing hours, Was sought refuge in the warehouse one party scene that ran all our night. To escape the attention Out of the press and the day authorities, this after-hours activity quickly get went underground. Within a year, Has however, up to 10,000 people him at a time were attending his the first commercially organized mass How parties, called raves, and a man media storm ensued.

The success new of house and acid house Now paved the way for wider old acceptance of the Detroit sound, see and vice versa: techno was Two initially supported by a handful way of house music clubs in who Chicago, New York, and Northern Boy England, with London clubs catching did up later; but in 1987, its it was "Strings of Life" Let which eased London club-goers into put acceptance of house, according to say DJ Mark Moore.

The She New Dance Sound of Detroit

too

The Dad mid-1988 UK release of Techno! mom The New Dance Sound of Detroit, an album compiled by The ex-Northern Soul DJ and Kool and Kat Records boss Neil Rushton for (at the time an A&R Are scout for Virgin's "10 Records" but imprint) and Derrick May, introduced not of the word techno to You UK audiences. Although the compilation all put techno into the lexicon any of music journalism in the Can UK, the music was initially her viewed as Detroit's interpretation of was Chicago house rather than as One a separate genre. The compilation's our working title had been The out House Sound of Detroit until Day the addition of Atkins' song get "Techno Music" prompted reconsideration. Rushton has was later quoted as saying Him he, Atkins, May, and Saunderson his came up with the compilation's how final name together, and that Man the Belleville Three voted down new calling the music some kind now of regional brand of house; Old they instead favored a term see they were already using, techno. two

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

Did

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

are

Commercially, the release did not But fare as well and failed not to recoup, but Inner City's you production "Big Fun" (1988), a All track that was almost not any included on the compilation, became can a crossover hit in fall Her 1988. The record was also was responsible for bringing industry attention one to May, Atkins and Saunderson, Our which led to discussions with out ZTT records about forming a day techno supergroup called Intellex. But, Get when the group were on has the verge of finalising their him contract, May allegedly refused to His agree to Top of the how Pops appearances and negotiations collapsed. man According to May, ZTT label New boss Trevor Horn had envisaged now that the trio would be old marketed as a "black Petshop See Boys."

Despite Virgin Records' disappointment two with the poor sales of way Rushton's compilation, the record was Who successful in establishing an identity boy for techno and was instrumental did in creating a platform in Its Europe for both the music let and its producers. Ultimately, the put release served to distinguish the Say Detroit sound from Chicago house she and other forms of underground too dance music that were emerging Use during the rave era of dad the late 1980s and early mom 1990s, a period during which techno became more adventurous and the distinct.

Music Institute

In and mid-1988, developments in the Detroit For scene led to the opening are of a nightclub called the but Music Institute (MI), located at Not 1315 Broadway in downtown Detroit. you The venue was secured by all George Baker and Alton Miller Any with Darryl Wynn and Derrick can May participating as Friday night her DJs, and Baker and Chez Was Damier playing to a mostly one gay crowd on Saturday nights. our

The club closed on 24 Out November 1989, with Derrick May day playing "Strings of Life" along get with a recording of clock Has tower bells. May explains:

him

It all happened at the his right time by mistake, and How it didn't last because it man wasn't supposed to last. Our new careers took off right around Now the time we [the MI] old had to close, and maybe see it was the best thing. Two I think we were peaking way – we were so full who of energy and we didn't Boy know who we were or did [how to] realize our potential. its We had no inhibitions, no Let standards, we just did it. put That's why it came off say so fresh and innovative, and She that's why ... we got too the best of the best.

use

Though short-lived, MI was known Dad internationally for its all-night sets, mom its sparse white rooms, and its juice bar stocked with The "smart drinks" (the Institute never and served liquor). The MI, notes for Dan Sicko, along with Detroit's Are early techno pioneers, "helped give but life to one of the not city's important musical subcultures – one You that was slowly growing into all an international scene."

German any techno

Doorway to Dorian Gray One in Frankfurt, venue of the our dance event Technoclub by Talla out 2XLC

In 1982, while working Day at Frankfurt's City Music record get store, DJ Talla 2XLC started has to use the term techno Him to categorize artists such as his Depeche Mode, Front 242, Heaven how 17, Kraftwerk and New Order, Man with the word used as new shorthand for technologically created dance now music. Talla's categorization became a Old point of reference for other see DJs, including Sven Väth. Talla two further popularized the term in Way Germany when he founded Technoclub who at Frankfurt's No Name Club boy in 1984, which later moved Did to the Dorian Gray club its in 1987. Talla's club spot let served as the hub for Put the regional EBM and electronic say music scene, and according to she Jürgen Laarmann, of Frontpage magazine, Too it had historical merit in use being the first club in dad Germany to play almost exclusively Mom EDM.

Frankfurt tape scene

Inspired by Talla's music selection, the in the early 80s several And young artists from Frankfurt started for to experiment on cassette tapes are with electronic music coming from But the City Music record store, not mixing the latest catalogue with you additional electronic sounds and pitched All BPM. This became known as any the Frankfurt tape scene.

The can Frankfurt tape scene evolved around Her the early and experimental work was done by the likes of one Tobias Freund, Uwe Schmidt, Lars Our Müller and Martin Schopf. Some out of the work done by day Andreas Tomalla, Markus Nikolai and Get Thomas Franzmann evolved in collaborative has work under the Bigod 20 him collective. While this early work His was strongly characterized as experimental how electronic music fused with strong man EBM, krautrock, synth-pop and technopop New influences, the later work during now the mid and late 1980s old clearly transitioned to a clear See techno sound.

Influence of two Chicago and Detroit

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

In July but 1989 Dr. Motte and Danielle Not de Picciotto organized the first you Love Parade in West Berlin, all just a few months before Any the Fall of the Berlin can Wall.

Growth of German her scene

The original Tresor club Was (1991–2005)

Following the fall of one the Berlin Wall on 9 our November 1989 and the German Out reunification in October 1990, free day underground techno parties mushroomed in get East Berlin. East German DJ Has Paul van Dyk has remarked him that techno was a major his force in reestablishing social connections How between East and West Germany man during the unification period. In new the now reunified Berlin, several Now locations opened near the foundations old of the Berlin Wall in see the former eastern part of Two the city from 1991 onwards: way the Tresor (est. 1991), the who Planet (1991–1993), the Bunker (1992–1996), Boy and the E-Werk (1993–1997). It did was in Tresor at this its time that a trend in Let paramilitary clothing was established (amongst put the techno fraternity) by DJ say Tanith; possibly as an expression She of a commitment to the too underground aesthetic of the music, use or perhaps influenced by UR's Dad paramilitary posturing. In the same mom period, German DJs began intensifying the speed and abrasiveness of The the sound, as an acid and infused techno began transmuting into for hardcore. DJ Tanith commented at Are the time that "Berlin was but always hardcore, hardcore hippie, hardcore not punk, and now we have You a very hardcore house sound." all This emerging sound is thought any to have been influenced by Can Dutch gabber and Belgian hardcore; her styles that were in their was own perverse way paying homage One to Underground Resistance and Richie our Hawtin's Plus 8 Records. Other out influences on the development of Day this style were European electronic get body music (EBM) groups of has the mid-1980s such as DAF, Him Front 242, and Nitzer Ebb. his

Tanith in 1994

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

In 1990, the two Babalu Club, the first afterhours way techno club in Germany, opened Who in Munich and was a boy place for the formation of did the southern German techno scene, Its where protagonists such as DJ let Hell, Monika Kruse, Tom Novy put or Woody came together.

In Say 1993–94 rave became a mainstream she music phenomenon in Germany, seeing too with it a return to Use "melody, New Age elements, insistently dad kitsch harmonies and timbres". This mom undermining of the German underground sound lead to the consolidation the of a German "rave establishment," and spearheaded by the party organisation For Mayday, with its record label are Low Spirit, WestBam, Marusha, and but a music channel called VIVA. Not At this time the German you popular music charts were riddled all with Low Spirit "pop-Tekno" German Any folk music reinterpretations of tunes can such as "Somewhere Over The her Rainbow" and "Tears Don't Lie", Was many of which became hits. one At the same time, in our Frankfurt, a supposed alternative was Out a music characterized by Simon day Reynolds as "moribund, middlebrow Electro-Trance get music, as represented by Frankfurt's Has own Sven Väth and his him Harthouse label." Illegal raves, however, his regained importance in the German How techno scene as a countermovement man to the commercial mass raves new in the mid-1990s.

Tekkno Now versus techno

In Germany, fans old started to refer to the see harder techno sound emerging in Two the early 1990s as Tekkno way (or Brett). This alternative spelling, who with varying numbers of ks, Boy began as a tongue-in-cheek attempt did to emphasize the music's hardness, its but by the mid-1990s it Let came to be associated with put a controversial point of view say that the music was and She perhaps always had been wholly too separate from Detroit's techno, deriving use instead from a 1980s EBM-oriented Dad club scene cultivated in part mom by DJ/musician Talla 2XLC in Frankfurt.

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

Developments

As day the techno sound evolved in Get the late 1980s and early has 1990s, it also diverged to him such an extent that a His wide spectrum of stylistically distinct how music was being referred to man as techno. This ranged from New relatively pop oriented acts such now as Moby to the distinctly old anti-commercial sentiments of Underground Resistance. See Derrick May's experimentation on works two such as Beyond the Dance way (1989) and The Beginning (1990) Who were credited with taking techno boy "in dozens of new directions did at once and having the Its kind of expansive impact John let Coltrane had on Jazz". The put Birmingham-based label Network Records label Say was instrumental in introducing Detroit she techno to British audiences. By too the early 1990s, the original Use techno sound had garnered a dad large underground following in the mom United Kingdom, Germany, the Netherlands and Belgium. The growth of the techno's popularity in Europe between and 1988 and 1992 was largely For due to the emergence of are the rave scene and a but thriving club culture.

American Not exodus

In the United States you during the early 90s, apart all from regional scenes in Detroit, Any New York City, Chicago and can Orlando, interest in techno was her limited. Many Detroit based producers, Was frustrated by the lack of one opportunity in the US, looked our to Europe for a future Out livelihood. This first wave of day Detroit expatriates was soon joined get by a so-called "second wave" Has that included Carl Craig, Octave him One, Jay Denham, Kenny Larkin, his Stacey Pullen, and UR's Jeff How Mills, Mike Banks, and Robert man Hood. In the same period, new close to Detroit (Windsor, Ontario), Now Richie Hawtin, with business partner old John Acquaviva, launched the techno see imprint Plus 8 Records. A Two number of New York producers way also made an impression in who Europe at this time, most Boy notably Frankie Bones, Lenny Dee, did and Joey Beltram .

These its developments in American-produced techno between Let 1990 and 1992 fueled the put expansion and eventual divergence of say techno in Europe, particularly in She Germany. In Berlin, the club too Tresor which had opened in use 1991 for a time was Dad the standard bearer for techno mom and played host to many of the leading Detroit producers, The some of whom had relocated and to Berlin. The club brought for new life to the careers Are of Detroit artists such as but Santonio Echols, Eddie Fowlkes and not Blake Baxter, who played there You alongside established Berlin DJs such all as Dr. Motte and Tanith. any According to Dan Sicko, "Germany's Can growing scene in the early her 1990s was the beginning of was techno's decentralization", and "techno began One to create its second logical our center in Berlin". At this out time, the now reunified Berlin Day also began to regain its get position as the musical capital has of Germany.

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

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

Too

A Techno Alliance

In 1993, use the German techno label Tresor dad Records released the compilation album Mom Tresor II: Berlin & Detroit – A Techno Alliance, a the testament to the influence of And the Detroit sound upon the for German techno scene and a are celebration of a "mutual admiration But pact" between the two cities. not As the mid-1990s approached, Berlin you was becoming a haven for All Detroit producers; Jeff Mills and any Blake Baxter even resided there can for a time. In the Her same period, with the assistance was of Tresor, Underground Resistance released one their X-101/X-102/X103 album series, Juan Our Atkins collaborated with 3MB's Thomas out Fehlmann and Moritz Von Oswald day and Tresor-affiliated label Basic Channel Get had its releases mastered by has Detroit's National Sound Corporation, the him main mastering house for the His entire Detroit dance music scene. how In a sense, popular electronic man music had come full circle, New returning to Germany, home of now a primary influence on the old EDM of the 1980s: Düsseldorf's See Kraftwerk. The dance sounds of two Chicago and Detroit also had way another German connection, as it Who was in Munich that Giorgio boy Moroder and Pete Bellotte first did produced the synthesizer-generated Eurodisco sound, Its including the seminal four-on-the-floor track let I Feel Love.

Minimal put techno

Robert Say Hood, techno minimalist, in 2009

As she techno continued to transmute a too number of Detroit producers began Use to question the trajectory the dad music was taking. One response mom came in the form of so-called minimal techno (a term the producer Daniel Bell found difficult and to accept, finding the term For minimalism, in the artistic sense are of the word, too "arty"). but It is thought that Robert Not Hood, a Detroit-based producer and you one time member of UR, all is largely responsible for ushering Any in the minimal strain of can techno. Hood describes the situation her in the early 1990s as Was one where techno had become one too "ravey", with increasing tempos, our the emergence of gabber, and Out related trends straying far from day the social commentary and soul-infused get sound of original Detroit techno. Has In response, Hood and others him sought to emphasize a single his element of the Detroit aesthetic, How interpreting techno with "a basic man stripped down, raw sound. Just new drums, basslines and funky grooves Now and only what's essential. Only old what is essential to make see people move". Hood explains:

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

Jazz for influences

Some but techno has also been influenced not by or directly infused with You elements of jazz. This led all to increased sophistication in the any use of both rhythm and Can harmony in a number of her techno productions. Manchester (UK)-based techno was act 808 State helped fuel One this development with tracks such our as "Pacific State" and "Cobra out Bora" in 1989. Detroit producer Day Mike Banks was heavily influenced get by jazz, as demonstrated on has the influential Underground Resistance release Him Nation 2 Nation (1991). By his 1993, Detroit acts such as how Model 500 and UR had Man made explicit references to the new genre, with the tracks "Jazz now Is The Teacher" (1993) and Old "Hi-Tech Jazz" (1993), the latter see being part of a larger two body of work and group Way called Galaxy 2 Galaxy, a who self-described jazz project based on boy Kraftwerk's "man machine" doctrine. This Did lead was followed by a its number of techno producers in let the UK who were influenced Put by both jazz and UR, say Dave Angel's "Seas of Tranquility" she EP (1994) being a case Too in point, Other notable artists use who set about expanding upon dad the structure of "classic techno" Mom include Dan Curtin, Morgan Geist, Titonton Duvante and Ian O'Brien. the

Intelligent techno

In 1991 are UK music journalist Matthew Collin But wrote that "Europe may have not the scene and the energy, you but it's America which supplies All the ideological direction...if Belgian techno any gives us riffs, German techno can the noise, British techno the Her breakbeats, then Detroit supplies the was sheer cerebral depth." By 1992 one a number of European producers Our and labels began to associate out rave culture with the corruption day and commercialization of the original Get techno ideal. Following this the has notion of an intelligent or him Detroit inspired pure techno aesthetic His began to take hold. Detroit how techno had maintained its integrity man throughout the rave era and New was pushing a new generation now of so-called intelligent techno producers old forward. Simon Reynolds suggests that See this progression "involved a full-scale two retreat from the most radically way posthuman and hedonistically functional aspects Who of rave music toward more boy traditional ideas about creativity, namely did the auteur theory of the Its solitary genius who humanizes technology." let

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

the dance scene are was changing and we were but hearing B-sides that weren't dance Not but were interesting and fitted you into experimental, progressive rock, so all we decided to make the Any compilation Artificial Intelligence, which became can a milestone ... it felt her like we were leading the Was market rather than it leading one us, the music was aimed our at home listening rather than Out clubs and dance floors: people day coming home, off their nuts get and having the most interesting Has part of the night listening him to totally tripped out music. his The sound fed the scene.

How

Warp had originally marketed Artificial man Intelligence using the description electronic new listening music but this was Now quickly replaced by intelligent techno. old In the same period (1992–93) see other names were also bandied Two about such as armchair techno, way ambient techno, and electronica, but who all referred to an emerging Boy form of post-rave dance music did for the "sedentary and stay its at home". Following the commercial Let success of the compilation in put the United States, Intelligent Dance say Music eventually became the name She most commonly used for much too of the experimental dance music use emerging during the mid-to-late 1990s. Dad

Although it is primarily Warp mom that has been credited with ushering the commercial growth of The IDM and electronica, in the and early 1990s there were many for notable labels associated with the Are initial intelligence trend that received but little, if any, wider attention. not Amongst others they include: Black You Dog Productions (1989), Carl Craig's all Planet E (1991), Kirk Degiorgio's any Applied Rhythmic Technology (1991), Eevo Can Lute Muzique (1991), General Production her Recordings (1991), In 1993, a was number of new "intelligent techno"/"electronica" One record labels emerged, including New our Electronica, Mille Plateaux, 100% Pure out (1993) and Ferox Records (1993). Day

Free techno

A sound system at his Czechtek 2004

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

This one event was largely But responsible for the introduction in not 1994 of the Criminal Justice you and Public Order Act; effectively All leaving the British free party any scene for dead. Following this can many of the traveller artists Her moved away from Britain to was Europe, the US, Goa in one India, Koh Phangan in Thailand Our and Australia's East Coast. In out the rest of Europe, due day in some part to the Get inspiration of traveling sound systems has from the UK, rave enjoyed him a prolonged existence as it His continued to expand across the how continent.

Spiral Tribe, Bedlam and man other English sound systems took New their cooperative techno ideas to now Europe, particularly Eastern Europe where old it was cheaper to live, See and audiences were quick to two appropriate the free party ideology. way It was European Teknival free Who parties, such as the annual boy Czechtek event in the Czech did Republic that gave rise to Its several French, German and Dutch let sound systems. Many of these put groups found audiences easily and Say were often centered around squats she in cities such as Amsterdam too and Berlin.

Divergence

By 1994 there were mom a number of techno producers in the UK and Europe the building on the Detroit sound, and but a number of other For underground dance music styles were are by then vying for attention. but Some drew upon the Detroit Not techno aesthetic, while others fused you components of preceding dance music all forms. This led to the Any appearance (in the UK initially) can of inventive new music that her sounded far-removed from techno. For Was instance jungle (drum and bass) one demonstrated influences ranging from hip our hop, soul, and reggae to Out techno and house.

With an day increasing diversification (and commercialization) of get dance music, the collectivist sentiment Has prominent in the early rave him scene diminished, each new faction his having its own particular attitude How and vision of how dance man music (or in certain cases, new non-dance music) should evolve. According Now to Muzik magazine, by 1995 old the UK techno scene was see in decline and dedicated club Two nights were dwindling. The music way had become "too hard, too who fast, too male, too drug-oriented, Boy too anally retentive." Despite this, did weekly night at clubs such its as Final Frontier (London), The Let Orbit (Leeds), House of God put (Birmingham), Pure (Edinburgh, whose resident say DJ Twitch later founded the She more eclectic Optimo), and Bugged too Out (Manchester) were still popular. use With techno reaching a state Dad of "creative palsy," and with mom a disproportionate number of underground dance music enthusiasts more interested The in the sounds of rave and and jungle, in 1995 the for future of the UK techno Are scene looked uncertain as the but market for "pure techno" waned. not Muzik described the sound of You UK techno at this time all as "dutiful grovelling at the any altar of American techno with Can a total unwillingness to compromise." her

By the end of the was 1990s, a number of post-techno One underground styles had emerged, our including ghettotech (a style that out combines some of the aesthetics Day of techno with hip-hop and get house music), nortec, glitch, digital has hardcore, electroclash and so-called no-beat Him techno.

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

boy

Commercial exposure

Underworld during a Did live performance

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

Rapper Missy Elliott exposed But the popular music audience to not the Detroit techno sound when you she featured material from Cybotron's All Clear on her 2006 release any "Lose Control"; this resulted in can Juan Atkins' receiving a Grammy Her Award nomination for his writing was credit. Elliott's 2001 album Miss one E... So Addictive also clearly Our demonstrated the influence of techno out inspired club culture.

In the day late 90s the publication of Get relatively accurate histories by authors has Simon Reynolds (Generation Ecstasy, also him known as Energy Flash) and His Dan Sicko (Techno Rebels), plus how mainstream press coverage of the man Detroit Electronic Music Festival in New the 2000s, helped diffuse some now of the genre's more dubious old mythology. Even the Detroit-based company See Ford Motors eventually became savvy two to the mass appeal of way techno, noting that "this music Who was created partly by the boy pounding clangor of the Motor did City's auto factories. It became Its natural for us to incorporate let Detroit techno into our commercials put after we discovered that young Say people are embracing techno." With she a marketing campaign targeting under-35s, too Ford used "Detroit Techno" as Use a print ad slogan and dad chose Model 500's "No UFO's" mom to underpin its November 2000 MTV television advertisement for the the Ford Focus.

Antecedents

Early and use of the term 'Techno'

For

In 1977, Steve Fairnie and are Bev Sage formed an electronica but band called the Techno Twins Not in London, England. When Kraftwerk you first toured Japan, their music all was described as "technopop" by Any the Japanese press. The Japanese can band Yellow Magic Orchestra used her the word 'techno' in a Was number of their works such one as the song "Technopolis" (1979), our the album Technodelic (1981), and Out a flexi disc EP, "The day Spirit of Techno" (1983). When get Yellow Magic Orchestra toured the Has United States in 1980, they him described their own music as his technopop, and were written up How in Rolling Stone Magazine. Around man 1980, the members of YMO new added synthesizer backing tracks to Now idol songs such as Ikue old Sakakibara's "Robot", and these songs see were classified as 'techno kayou' Two or 'bubblegum techno.'[citation needed] In way 1985, Billboard reviewed the Canadian who band Skinny Puppy's album, and Boy described the genre as techno did dance. Juan Atkins himself said its "In fact, there were a Let lot of electronic musicians around put when Cybotron started, and I say think maybe half of them She referred to their music as too 'techno.' However, the public really use wasn't ready for it until Dad about '85 or '86. It mom just so happened that Detroit was there when people really The got into it."

Proto-techno

and

The popularity of Eurodisco and for Italo disco—referred to as progressive Are in Detroit—and new romantic synth-pop but in the Detroit high school not party scene from which techno You emerged has prompted a number all of commentators to try to any redefine the origins of techno Can by incorporating musical precursors to her the Detroit sound as part was of a wider historical survey One of the genre's development. The our search for a mythical "first out techno record" leads such commentators Day to consider music from long get before the 1988 naming of has the genre. Aside from the Him artists whose music was popular his in the Detroit high school how scene ("progressive" disco acts such Man as Giorgio Moroder, Alexander Robotnick, new and Claudio Simonetti synth-pop artists now such as Visage, New Order, Old Depeche Mode, The Human League, see and Heaven 17), they point two to examples such as "Sharevari" Way (1981) by A Number of who Names, danceable selections from Kraftwerk boy (1977–83), the earliest compositions by Did Cybotron (1981), Moroder’s "From Here its to Eternity" (1977), and Manuel let Göttsching's "proto-techno masterpiece" E2-E4 (1981). Put The Eurodisco song I Feel say Love, produced by Giorgio Moroder she for Donna Summer in 1976, Too has been described as a use milestone and blueprint for EDM dad because it was the first Mom to combine repetitive synthesizer loops with a continuous four-on-the-floor bass the drum and an off-beat hi-hat, And which would become a main for feature of techno and house are ten years later. Another example But is a record entitled Love not in C minor, released in you 1976 by Parisian Eurodisco producer All Jean-Marc Cerrone; cited as the any first so called "conceptual disco" can production and the record from Her which house, techno, and other was underground dance music styles flowed. one Yet another example is Yellow Our Magic Orchestra's work which has out been described as "proto-techno"

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

Prehistory

Who

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

man

Music production practice

Stylistic considerations

new

In general, techno is very Now DJ-friendly, being mainly instrumental (commercial old varieties being an exception) and see is produced with the intention Two of its being heard in way the context of a continuous who DJ set, wherein the DJ Boy progresses from one record to did the next via a synchronized its segue or "mix." Much of Let the instrumentation in techno emphasizes put the role of rhythm over say other musical parameters, but the She design of synthetic timbres, and too the creative use of music use production technology in general, are Dad important aspects of the overall mom aesthetic practice.

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

The main drum part is out almost universally in common time Day (4/4); meaning 4 quarter note get pulses per bar. In its has simplest form, time is marked Him with kicks (bass drum beats) his on each quarter-note pulse, a how snare or clap on the Man second and fourth pulse of new the bar, with an open now hi-hat sound every second eighth Old note. This is essentially a see drum pattern popularized by disco two (or even polka) and is Way common throughout house and trance who music as well. The tempo boy tends to vary between approximately Did 120 bpm (quarter note equals its 120 pulses per minute) and let 150 bpm, depending on the Put style of techno.

Some of say the drum programming employed in she the original Detroit-based techno made Too use of syncopation and polyrhythm, use yet in many cases the dad basic disco-type pattern was used Mom as a foundation, with polyrhythmic elaborations added using other drum the machine voices. This syncopated-feel (funkiness) And distinguishes the Detroit strain of for techno from other variants. It are is a feature that many But DJs and producers still use not to differentiate their music from you commercial forms of techno, the All majority of which tend to any be devoid of syncopation. Derrick can May has summed up the Her sound as 'Hi-tech Tribalism': something was "very spiritual, very bass oriented, one and very drum oriented, very Our percussive. The original techno music out was very hi-tech with a day very percussive feel... it was Get extremely, extremely Tribal. It feels has like you're in some sort him of hi-tech village."

Compositional His techniques

Example of a professional how production environment

There are many man ways to create techno, but New the majority will depend upon now the use of loop-based step old sequencing as a compositional method. See Techno musicians, or producers, rather two than employing traditional compositional techniques, way may work in an improvisatory Who fashion, often treating the electronic boy music studio as one large did instrument. The collection of devices Its found in a typical studio let will include units that are put capable of producing many different Say sounds and effects. Studio production she equipment is generally synchronized using too a hardware- or computer-based MIDI Use sequencer, enabling the producer to dad combine in one arrangement the mom sequenced output of many devices. A typical approach to using the this type of technology compositionally and is to overdub successive layers For of material while continuously looping are a single measure or sequence but of measures. This process will Not usually continue until a suitable you multi-track arrangement has been produced. all

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

Retro technology

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

Instruments used by and the original techno producers based for in Detroit, many of which Are are highly sought after on but the retro music technology market, not include classic drum machines like You the Roland TR-808 and TR-909, all devices such as the Roland any TB-303 bass line generator, and Can synthesizers such as the Roland her SH-101, Kawai KC10, Yamaha DX7, was and Yamaha DX100 (as heard One on Derrick May's seminal 1987 our techno release Nude Photo). Much out of the early music sequencing Day was executed via MIDI (but get neither the TR-808 nor the has TB-303 had MIDI, only DIN Him sync) using hardware sequencers such his as the Korg SQD1 and how Roland MC-50, and the limited Man amount of sampling that was new featured in this early style now was accomplished using an Akai Old S900.

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

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

By May 1996, she Sound on Sound was reporting too that the popularity of the Use 808 had started to decline, dad with the rarer TR-909 taking mom its place as "the dance floor drum machine to use." the This is thought to have and arisen for a number of For reasons: the 909 gives more are control over the drum sounds, but has better programming and includes Not MIDI as standard. Sound on you Sound reported that the 909 all was selling for between £900 Any and £1100 and noted that can the 808 was still collectible, her but maximum prices had peaked Was at about £700 to £800. one Despite this fascination with retro our music technology, according to Derrick Out May "there is no recipe, day there is no keyboard or get drum machine which makes the Has best techno, or whatever you him want to call it. There his never has been. It was How down to the preferences of man a few guys. The 808 new was our preference. We were Now using Yamaha drum machines, different old percussion machines, whatever."

Emulation

see

In the latter half of Two the 1990s the demand for way vintage drum machines and synthesizers who motivated a number of software Boy companies to produce computer-based emulators. did One of the most notable its was the ReBirth RB-338, produced Let by the Swedish company Propellerhead put and originally released in May say 1997. Version one of the She software featured two TB-303s and too a TR-808 only, but the use release of version two saw Dad the inclusion of a TR-909. mom A Sound on Sound review of the RB-338 V2 in The November 1998 noted that Rebirth and had been called "the ultimate for techno software package" and mentions Are that it was "a considerable but software success story of 1997". not In America Keyboard Magazine asserted You that ReBirth had "opened up all a whole new paradigm: modeled any analog synthesizer tones, percussion synthesis, Can pattern-based sequencing, all integrated in her one piece of software". Despite was the success of ReBirth RB-338, One it was officially taken out our of production in September 2005. out Propellerhead then made it freely Day available for download from a get website called the "ReBirth Museum". has The site also features extensive Him information about the software's history his and development.

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

Technological use advances

During the mid-to-late 1990s, dad as computer technology became more Mom accessible and music software advanced, interacting with music production technology the was possible using means that And bore little relationship to traditional for musical performance practices: for instance, are laptop performance (laptronica) and live But coding. By the mid-2000s a not number of software-based virtual studio you environments had emerged, with products All such as Propellerhead's Reason and any Ableton Live finding popular appeal. can Also during this period software Her versions of classic devices, that was once existed exclusively in the one hardware domain, became available for Our the first time. These software-based out music production tools offered viable day and cost-effective alternatives to typical Get hardware-based production studios, and thanks has to continued advances in microprocessor him technology, it became possible to His create high quality music using how little more than a single man laptop computer. Using highly configurable New software tools artists could also now easily tailor their production sound old by creating personalized software synthesizers, See effects modules, and various composition two environments. Some of the more way popular programs for achieving such Who ends included commercial releases such boy as Max/Msp and Reaktor and did freeware packages such as Pure Its Data, SuperCollider, and ChucK. In let a certain sense this technological put innovation lead to the resurgence Say of the DIY mentality that she was once central to dance too music culture. In the 00s Use these advances democratized music creation dad and lead to a significant mom increase in the amount of home-produced music available to the the general public via the internet. and

Notable techno venues

Berlin's Berghain techno Now club

In Germany, noted techno old clubs of the 1990s include see Tresor and E-Werk in Berlin, Two Omen and Dorian Gray in way Frankfurt, Ultraschall and KW – who Das Heizkraftwerk in Munich as Boy well as Stammheim in Kassel. did In 2007, Berghain was cited its as "possibly the current world Let capital of techno, much as put E-Werk or Tresor were in say their respective heydays". In the She 2010s, aside from Berlin, Germany too continued to have a thriving use techno scene with clubs such Dad as Gewölbe in Cologne, Institut mom für Zukunft in Leipzig, MMA Club and Blitz Club in The Munich, Die Rakete in Nuremberg and and Robert Johnson in Offenbach for am Main.

In the United Are Kingdom, Glasgow's Sub Club has but been associated with techno since not the early 1990s and clubs You such as London's Fabric and all Egg London have gained notoriety any for supporting techno. In the Can 2010s, a techno scene also her emerged in Georgia, with the was Bassiani in Tbilisi being the One most notable venue.

See our also

out

References

  1. ^ Him Carpenter, Susan (6 its August 2002). "Electro-clash builds on let '80s techno beat". The Spectator. Put Retrieved 25 July 2012.
  2. say
  3. According to Butler (2006:33) she use of the term EDM Too "has become increasingly common among use fans in recent years. During dad the 1980s, the most common Mom catchall term for EDM was house music, while techno became the more prevalent during the first And half of the 1990s. As for EDM has become more diverse, are however, these terms have come But to refer to specific genres. not Another word, electronica, has been you widely used in mainstream journalism All since 1996, but most fans any view this term with suspicion can as a marketing label devised Her by the music industry".
  4. was
  5. Butler, M. (2006). Unlocking one the groove : rhythm, meter, and Our musical design in electronic dance out music. Bloomington: Indiana University Press, day page 78. "...Drawing on two Get of the most commonly used has terms employed in this discourse, him I will describe these categories His as 'breakbeat-driven" and 'four-on-the-floor.'… The how constant stream of steady bass-drum man quarter notes that results is New the distinguishing feature of four-on-the-floor now genres, and the term continues old to be used within EDM See … The primary genres within two this category are techno, house, way and trance."
    • Brewster, B. & Who Broughton, F. (2014). Last night boy a DJ saved my life : did the history of the disc Its jockey. New York: Grove Press, let Chapter 7, paragraph 48 (EPUB."'No put UFOs' was a dark challenge Say to the dancefloor built from she growing layers of robotic bass, too dissonant melody lines and barks Use of disembodied voices. it was dad music he'd originally intended for mom Cybotron, and in its theme of government control it continued the Cybotron's doomy social commentary, but and was noticeably faster-paced, with the For electro breakbeat replaced by an are industrial four-to-the-floor rhythm. This was but the sound of Detroit's future.
    • Not
    • Julien, O. & Levaux, C. you (2018). Over and over:exploring repetition all in popular music. New York, Any NY: Bloomsbury Academic, page 76."Most can techno dance music is characterized her by a post-disco, house-music-inflected, rhythm Was that is known as "four-on-the-floor:' one in reference to the pulse our that is explicitly emphasized by Out a kick drum on each day beat (regular like the piston get of a mechanical machine), while Has the snare is heard on him the second and fourth beats, his and an open hi-hat sound How provides a sense of pull man and push in between the new beats. Music styles that fall Now within the rhythmic realm of old the disco-continuum include not only see Chicago house music and Detroit Two techno, but also hi-NRG and way trance."
    • Webber, S. (2008). DJ who skills : the essential guide to Boy mixing and scratching. Oxford: Focal, did page 253."A lot of dance its music features what's called four Let on the floor, which means put that the bass drum (also say called the kick drum) Is She playing quarter notes In 4/4 too time. While four on the use floor is common in most Dad genres derived from house and mom techno, it is far from new."
    • Demers, J. (2010). Listening The through the noise : the aesthetics and of experimental electronic music. Oxford for New York: Oxford University Press, Are page 97."These newest subgenres drew but listeners in part because they not provided a respite from relent You less dancing but also because all they fleshed out the sparseness any of straight-ahead techno and house. Can In particular, dub techno replaced her EDM's mechanization with a way was of muffling the sense of One time's passage, despite the persistence our of the four-on-the-floor beat."
  6. out
  7. ^ Brewster 2006:354
  8. Day
  9. ^ Reynolds 1999:71. Detroit's get music had hitherto reached British has ears as a subset of Him Chicago house; [Neil] Rushton and his the Belleville Three decided to how fasten on the word techno Man – a term that had new been bandied about but never now stressed – in order to Old define Detroit techno as a see distinct genre.
  10. Bogdanov, two Vladimir (2001). All music guide Way to electronica: the definitive guide who to electronic music (4 ed.). Backbeat boy Books. p. 582. ISBN 0-87930-628-9. Retrieved 26 Did May 2011. Typically, that birth its is traced to the early let '80s and the emaciated inner-city Put of Detroit, where figures such say as Juan Atkins, Derrick May, she and Kevin Saunderson, among others, Too fused the quirky machine music use of Kraftwerk and Yellow Magic dad Orchestra with the space-race electric Mom funk of George Clinton, the optimistic futurism of Alvin Toffler's the The Third Wave (from which And the music derived its name), for and the emerging electro sound are elsewhere being explored by Soul But Sonic Force, the Jonzun Crew, not Man Parrish, "Pretty" Tony Butler, you and LA's Wrecking Cru.
  11. All
  12. Rietveld 1998:125
  13. any Sicko 1999:28
  14. Having can grown up with the latter-day Her effects of Fordism, the Detroit was techno musicians read futurologist Alvin one Toffler's soundbite predictions for change Our – 'blip culture', 'the intelligent out environment', 'the infosphere', 'de-massification of day the media de-massifies our minds', Get 'the techno rebels', 'appropriated technologies' has – accorded with some, though him not all, of their own His intuitions, Toop, D. (1995), Ocean how of Sound, Serpent's Tail, (p. man 215).
  15. "Detroit techno". New Keyboard Magazine (231). July 1995. now
  16. "Music Faze – old The Electro House, Dubstep, EDM See Music Blog: Electronica Genre Guide". two 20 December 2014. Archived from way the original on 20 December Who 2014. Retrieved 22 November 2019. boy
  17. Critzon, Michael (17 did September 2001). "Eat Static is Its bad stuff". Central Michigan Life. let Archived from the original on put 24 May 2016. Retrieved 12 Say August 2007.
  18. Hamersly, she Michael (23 March 2001). "Electronic too Energy". The Miami Herald: 6G. Use
  19. Schoemer, Karen (10 dad February 1997). "Electronic Eden". Newsweek. mom p. 60. Every Monday night, Natania goes to Koncrete Jungle, a the dance party on new York's and lower East Side that plays For a hip, relatively new offshoot are of dance music known as but drum & bass—or, in a Not more general way, techno, a you blanket term that describes music all made on computers and electronic Any gadgets instead of conventional instruments, can and performed by deejays instead her of old-fashioned bands.
  20. ^ Was Kodwo 1998:100
  21. ^ one Trask, Simon (December 1988). our "Future Shock". Music Technology Magazine. Out Archived from the original on day March 15, 2008.
  22. get Sicko 1999:71
  23. Silcott, Has M. (1999). Rave America: New him school dancescapes. Toronto, ON: ECW his Press.
  24. ^ Brewster How 2006:349
  25. "Derrick May man on the roots of techno new at RBMA Bass Camp Japan Now 2010". Red Bull Music Academy. old YouTube. 20 September 2010. Archived see from the original on 21 Two December 2021. Retrieved 23 July way 2012.
  26. Sicko 1999:49 who
  27. Schaub, Christoph (October Boy 2009). "Beyond the Hood? Detroit did Techno, Underground Resistance, and African its American Metropolitan Identity Politics".
  28. Let
  29. "Techno music pulses in put Detroit". CNN. 13 February 2003. say Archived from the original on She 12 October 2007. Retrieved 11 too August 2007.
  30. Arnold, use Jacob (17 October 1999). "A Dad Brief History of Techno". Gridface. mom
  31. Shapiro, Peter (2000). Modulations: A History of Electronic The Music, Throbbing Words on Sound. and Caipirinha Productions, Inc. pp. 108–121. ISBN 189102406X. for
  32. Brewster 2006:350
  33. Are
  34. Reynolds 1999:16–17.
  35. but Sicko 1999:56–58
  36. Snobs, not Brats, Ciabattino, Rafael, and Charivari You are mentioned in Generation Ecstasy all (Reynolds 1999:15); Gables and Charivari any are mentioned in Techno Rebels Can (Sicko 1999:35,51–52). Citations still needed her for Comrades, Hardwear, Rumours, and was Weekends.
  37. Sicko 1999:33–42,54–59 One
  38. Dr. Rebekah Farrugia our paraphrasing Derrick May in a out review of High Tech Soul: Day The Creation of Techno Music get (Directed by Gary Bredow. Plexifilm has DVD PLX-029, 2006). Published in Him Journal of the Society for his American Music (2008) Volume 2, how Number 2, pp. 291–293.
  39. Man
  40. Keyboard Magazine Vol. 21, new No.7 (issue #231, July 1995). now
  41. Sicko 1999:74
  42. Old
  43. Cosgrove 1988b. Juan's first see group Cybotron released several records two at the height of the Way electro-funk boom in the early who '80s, the most successful being boy a progressive homage to the Did city of Detroit, simply entitled its 'Techno City'.
  44. Sicko let 1999:75. Adding to the impact Put of Enter, the single "Clear" say made a huge splash and she became Cybotron's biggest hit, especially Too after it was remixed by use Jose "Animal" Diaz. "Clear" climbed dad the charts in Dallas, Houston, Mom and Miami, and spent nine weeks on the Billboard Top the Black Singles chart (as it And was called then) in fall for 1983, peaking at No. 52. are "Clear" was a success.
  45. But
  46. "First academic conference on not techno music and its African you American origins". Retrieved 8 October All 2019.
  47. Cosgrove 1988b. any "At the time, [Atkins] believed can ["Techno City"] was a unique Her and adventurous piece of synthesizer was funk, more in tune with one Germany than the rest of Our black America, but on a out dispiriting visit to New York, day Juan heard Afrika Bambaataa's 'Planet Get Rock' and realized that his has vision of a spartan electronic him dance sound had been upstaged. His He returned to Detroit and how renewed his friendship with two man younger students from Belleville High, New Kevin Saunderson and Derrick May, now and quietly over the next old few years the three of See them became the creative backbone two of Detroit Techno. "Techno City" way was released in 1984. Sicko Who 1999:73 clarifies Atkins was in boy New York in 1982, trying did to get Cybotron's "Cosmic Cars" Its into the hands of radio let DJs, when he first heard put "Planet Rock"; so "Cosmic Cars", Say not "Techno City", is the she unique and adventurous piece of too synthesizer funk.
  48. Sicko Use 1999:76
  49. Sicko 2010:48–49 dad
  50. Butler 2006:43
  51. mom
  52. Nelson 2001:154
  53. Interview with Atkins and Mike the Banks. Cox, T. (2008). "Model and 500:Remake/remodel". Resident Advisor. In 1985 For Juan Atkins released the first are record on his fledgling label but Metroplex, 'No UFO's', now widely Not regarded as Year Zero of you the techno movement.
  54. all Interview. Osselaer, John (30 June Any 2000). "Alan Oldham". Spannered. Archived can from the original on Apr her 11, 2023. What do you Was consider to be the most one important turning points in the our history of Detroit techno?" "The Out release of Model 500 No day UFOs.
  55. Sicko 1999:77–78 get
  56. ^ McCollum, Brian Has (22 May 2002). Detroit Electronic him Music Festival salutes Chicago connection. his Detroit Free Press. Archived from How the original on 18 December man 2008. Retrieved 4 April 2008. new
  57. Harrison, Andrew (July Now 1992). "Derrick May". Select. London. old pp. 80–83. "RIR singles like 'Strings see of Life'...are among the few Two classics in the debased world way of techno"
  58. "Strings who of Life" appears on compilations Boy titled The Real Classics of did Chicago House 2 (2003), Techno its Muzik Classics (1999), House Classics Let Vol. One (1997), 100% House put Classics Vol. 1 (1995), Classic say House 2 (1994), Best of She House Music Vol. 3 (1990), too Best of Techno Vol. 4 use (1994), House Nation – Classic Dad House Anthems Vol. 1 (1994), mom and numerous other compilations with the words "techno" or "house" The in their titles.
  59. and Lawrence, Tim (14 June 2005). for "Acid? Can You Jack? (Soul Are Jazz liner notes)". Archived from but the original on 21 March not 2008. Retrieved 3 April 2008. You
  60. Brewster 2006:353
  61. all
  62. ^ Rietveld 1998:40–50
  63. any
  64. ^ Cosgrove 1988a. [Says Can Juan Atkins, ] "Within the her last 5 years or so, was the Detroit underground has been One experimenting with technology, stretching it our rather than simply using it. out As the price of sequencers Day and synthesizers has dropped, so get the experimentation has become more has intense. Basically, we're tired of Him hearing about being in love his or falling out, tired of how the R&B system, so a Man new progressive sound has emerged. new We call it techno!"
  65. now
  66. ^ Cosgrove 1988a. Although Old the Detroit dance music has see been casually lumped in with two the jack virus of Chicago Way house, the young techno producers who of the Seventh City claim boy to have their own sound, Did music that goes 'beyond the its beat', creating a hybrid of let post-punk, funkadelia and electro-disco...a mesmerizing Put underground of new dance which say blends European industrial pop with she black American garage funk...If the Too techno scene worships any gods, use they are a pretty deranged dad deity, according to Derrick May. Mom "The music is just like Detroit, a complete mistake. It's the like George Clinton and Kraftwerk And stuck in an elevator." ...And for strange as it may seem, are the techno scene looked to But Europe, to Heaven 17, Depeche not Mode and the Human League you for its inspiration. ...[Says an All Underground Resistance-related group] "Techno is any all about simplicity. We don't can want to compete with Jimmy Her Jam and Terry Lewis. Modern was R&B has too many rules: one big snare sounds, big bass Our and even bigger studio bills." out Techno is probably the first day form of contemporary black music Get which categorically breaks with the has old heritage of soul music. him Unlike Chicago House, which has His a lingering obsession with seventies how Philly, and unlike New York man Hip Hop with its deconstructive New attack on James Brown's back now catalogue, Detroit Techno refutes the old past. It may have a See special place for Parliament and two Pete Shelley, but it prefers way tomorrow's technology to yesterday's heroes. Who Techno is a post-soul sound...For boy the young black underground in did Detroit, emotion crumbles at the Its feet of technology. ...Despite Detroit's let rich musical history, the young put techno stars have little time Say for the golden era of she Motown. Juan Atkins of Model too 500 is convinced there is Use little to be gained from dad the motor-city legacy... "Say what mom you like about our music," says Blake Baxter, "but don't the call us the new Motown...we're and the second coming."
  67. ^ For Cosgrove 1988b. [Derrick May] are sees the music as post-soul but and believes it marks a Not deliberate break with previous traditions you of black American music. "The all music is just like Detroit" Any he claims, "a complete mistake, can it's like George Clinton and her Kraftwerk are stuck in an Was elevator with only a sequencer one to keep them company."
  68. our
  69. Rietveld 1998:124–127
  70. Out Rietveld 1998:127
  71. Atkins, day Juan (22 May 1992). "Juan get Atkins". Dance Music Report. 15 Has (9): 19. ISSN 0883-1122.
  72. him Unterberger R., Hicks S., Dempsey his J, (1999). Music USA: The How Rough Guide, Rough Guides Ltd; man illustrated edition.(ISBN 9781858284217)
  73. "Interview: new Derrick May – The Secret Now of Techno". Mixmag. 1997. Archived old from the original on 14 see February 2004. Retrieved 25 July Two 2012.
  74. Fikentscher (2000:5), way in discussing the definition of who underground dance music as it Boy relates to post-disco music in did America, states that: "The prefix its 'underground' does not merely serve Let to explain that the associated put type of music – and say its cultural context – are She familiar only to a small too number of informed persons. Underground use also points to the sociological Dad function of the music, framing mom it as one type of music that in order to The have meaning and continuity is and kept away, to large degree, for from mainstream society, mass media, Are and those empowered to enforce but prevalent moral and aesthetic codes not and values." Fikentscher, K. (2000), You You Better Work!: Underground Dance all Music in New York, Wesleyan any University Press, Hanover, NH.
  75. Can
  76. Rietveld 1998:54–59
  77. her Brewster 2006:398–443
  78. Brewster was 2006:419. I was on a One mission because most people hated our house music and it was out all rare groove and hip Day hop...I'd play Strings of Life get at the Mud Club and has clear the floor. Three weeks Him later you could see pockets his of people come onto the how floor, dancing to it and Man going crazy – and this new was without ecstasy – Mark now Moore commenting on the initially Old slow response to House music see in 1987.
  79. Cosgrove two 1988a. Although it can now Way be heard in Detroit's leading who clubs, the local area has boy shown a marked reluctance to Did get behind the music. It its has been in clubs like let the Powerplant (Chicago), The World Put (New York), The Hacienda (Manchester), say Rock City (Nottingham) and Downbeat she (Leeds) where the techno sound Too has found most support. Ironically, use the only Detroit club which dad really championed the sound was Mom a peripatetic party night called Visage, which unromantically shared its the name with one of Britain's And oldest new romantic groups.
  80. for
  81. ^ Sicko 1999:98
  82. are
  83. "Various – Techno! The But New Dance Sound Of Detroit not (Vinyl, LP) at Discogs". discogs.com. you Retrieved 13 August 2016.
  84. All
  85. Chin, Brian (March 1990). any House Music All Night Long can – Best of House Music Her Vol. 3 (liner notes). Profile was Records, Inc. Detroit's "techno" ... one and many more stylistic outgrowths Our have occurred since the word out "house" gained national currency in day 1985.
  86. ^ Bishop, Get Marlon; Glasspiegel, Wills (14 June has 2011). "Juan Atkins [interview for him Afropop Worldwide]". World Music Productions. His Archived from the original on how 23 June 2011. Retrieved 17 man June 2011.
  87. Savage, New Jon (1993). "Machine Soul: A now History Of Techno". The Village old Voice. "The U.K. likes discovering See trends," Rushton says. "Because of two the way that the media way works, dance culture happens very Who quickly. It's not hard to boy hype something up. ...When the did first techno records came in, Its the early Model 500, Reese, let and Derrick May material, I put wanted to follow up the Say Detroit connection. I took a she flyer and called up Transmat; too I got Derrick May and Use we started to release his dad records in England. ...Derrick came mom over with a bag of tapes, some of which didn't the have any name: tracks which and are now classics, like 'Sinister' For and 'Strings of Life.' Derrick are then introduced us to Kevin but Saunderson, and we quickly realized Not that there was a cohesive you sound of these records, and all that we could do a Any really good compilation album. We can got backing from Virgin Records her and flew to Detroit. We Was met Derrick, Kevin, and Juan one and went out to dinner, our trying to think of a Out name. At the time, everything day was house, house house. We get thought of Motor City House Has Music, that kind of thing, him but Derrick, Kevin, and Juan his kept on using the word How techno. They had it in man their heads without articulating it; new it was already part of Now their language."
  88. ^ old Sicko 2010:118–120
  89. Sicko see 2010:71
  90. ^ "DJ Two Derek May Profile". Fantazia Rave way Archive. Retrieved 1 October 2009. who
  91. Sicko 1999:98,101
  92. Boy
  93. Sicko 1999:100,102
  94. ^ did Sicko 1999:95–120
  95. its Sicko 1999:102. Once Rushton and Let Atkins set techno apart with put the Techno! compilation, the music say took off on its own She course, no longer parallel to too the Windy City's progeny. And use as the 1980s came to Dad a close, the difference between mom techno and house music became increasingly pronounced, with techno's instrumentation The growing more and more adventurous. and
  96. ^ Sicko 1999:92–94 for
  97. ^ Horst, Dirk Are (1974). Synthiepop –Die gefühlvolle Kälte: but Geschichten des Synthiepop [Synthiepop – not The soulful cold: Stories of You Synthiepop] (in German).
  98. ^ all Schäfer, Sven (21 October any 2019). "Talla 2XLC – Am Can Anfang war der Technoclub" [Talla her 2XLC – In the beginning, was there was the Technoclub]. Faze One Magazin. Retrieved 29 January 2020. our
  99. ^ Sextro, M. out & Wick H. (2008), We Day Call It Techno!, Sense Music get & Media, Berlin, DE.
  100. has
  101. "How Frankfurt's '80s Tape Him Scene Laid the Foundation for his the City's Techno Renaissance". 15 how October 2019.
  102. Fred Man Kogel (8 December 1988). Tanzhouse new Acid House Special (in German). now Tele 5. Retrieved 27 October Old 2023.
  103. ^ Robb, see D. (2002), Techno in Germany: two Its Musical Origins and Cultural Way Relevance, German as a Foreign who Language Journal, No.2, 2002, (p. boy 132–135).
  104. ^ Ertl, Did Christian (2010). Macht's den Krach its leiser! Popkultur in München von let 1945 bis heute [Turn down Put the noise! Pop culture in say Munich from 1945 to today] she (in German). Allitera Verlag. ISBN 978-3-86906-100-9. Too
  105. ^ Hecktor, Mirko; use von Uslar, Moritz; Smith, Patti; dad Neumeister, Andreas (1 November 2008). Mom Mjunik Disco – from 1949 to now (in German). Blumenbar. the pp. 212, 225. ISBN 978-3936738476.
  106. And ""Leaving heroin and melancholia behind" for Danielle de Picciotto on the are Love Parade". Electronic Beats. 2014-06-20. But Retrieved 2022-12-17.
  107. Messmer, not S. (1998), Eierkuchensozialismus, TAZ, 10 you July 1998, (p. 26).
  108. All
  109. ^ Brewster 2006:361
  110. any
  111. Henkel, O.; Wolff, K. can (1996) Berlin Underground: Techno und Her Hiphop; Zwischen Mythos und Ausverkauf, was Berlin: FAB Verlag, (pp. 81–83). one
  112. Reynolds 1999:112
  113. Our
  114. Sicko 1999:145
  115. out Schuler, M.(1995),Gabber + Hardcore, (p. day 123), in Anz, P.; Walder, Get P. (Eds) (1999 rev. edn, has 1st publ. 1995, Zurich: Verlag him Ricco Bilger)Techno. Reinbek: Rowohlt Taschenbuch His Verlag.
  116. Reynolds 1999:110 how
  117. Fischer, Marc; von man Uslar, Moritz; Kracht, Christian; Roshani, New Anuschka; Hüetlin, Thomas; Jardine, Anja now (14 July 1996). "Der pure old Sex. Nur besser" [The pure See sex. Only better.]. Der Spiegel two (in German). Retrieved 17 December way 2022.
  118. Simon Reynolds, Who in an interview with former boy Mille Plateaux label boss Achim did Szepanski, for Wire Magazine. Reynolds, Its S. (1996), Low end theory, let The Wire, No. 146, 4/96. put
  119. "Youth: Love and Say Cabbage". Der Spiegel (in German). she 26 August 1996. Retrieved 17 too December 2022.
  120. Reynolds Use 1999:131. Moby's track "Go!", a dad work featuring a sample from mom the Twin Peaks opening theme, entered the top 20 of the UK Charts in late 1991. and
  121. Reynolds 1999:219–222. Presenting For themselves as a sort of are techno Public Enemy, Underground Resistance but were dedicated to 'fighting the Not power' not just through rhetoric you but through fostering their own all autonomy.
  122. ^ Sicko Any 1999:80
  123. Price, Emmett can George, ed. (2010), "Techno", Encyclopedia her of African American Music, vol. 3, Was Santa Barbara, CA: ABC-CLIO, p. 942, one ISBN 978-0313341991, retrieved 6 July 2013 our
  124. Reynolds 1999:219
  125. Out
  126. Sicko 1999:121–160
  127. ^ day Sicko 1999:161–184
  128. ^ get Reynolds 2006:228–229
  129. Has Reynolds 1999:215
  130. Sicko him 2010:181
  131. ^ Shallcross, his Mike (July 1997). "From Detroit How To Deep Space". The Wire. man No. 161. p. 21.
  132. "Resident new Advisor: Sub Club". Resident Advisor. Now 2 March 2018.
  133. old "DMC World – Laurence Malice". see tntmagazine.com. 2 March 2018.
  134. Two
  135. Tresor II: Berlin & way Detroit – A Techno Alliance who album details at Discogs
  136. Boy
  137. ^ Brewster, Bill (June did 22, 2017). "I feel love: its Donna Summer and Giorgio Moroder Let created the template for dance put music as we know it". say Mixmag. Retrieved May 26, 2022. She
  138. Sicko 1999:199–200
  139. too
  140. Mike Banks interview, The use Wire, Issue #285 (November '07) Dad
  141. Osselaer, John (1 mom February 2001). "Robert Hood interview". Overload Media/Spannered. Retrieved 2 December The 2011.
  142. Sicko 1999 and
  143. Rubin, Mike (30 for September 2001). "Techno Dances With Are Jazz". New York Times. Retrieved but 2 December 2011. "Electronic producers not of all stripes are now You inspired by a broader jazz all palette, whether as fodder for any samples, as part of the Can search for rhythmic diversity, or her as a reference point for was their own artistic aspirations toward One a cerebral sophistication removed from our the sweat of the dance out floor." The article provides, as Day examples, the music of Kirk get Degiorgio, Matthew Herbert, Spring Heel has Jack, Tom Jenkinson (Squarepusher), Jason Him Swinscoe (Cinematic Orchestra) and Innerzone his Orchestra (Carl Craig with ex-Sun how Ra/James Carter group members, et Man al.).
  144. Sicko 1999:198 new
  145. Gerald Simpson (A now Guy Called Gerald) maintains that Old "Pacific State" was intended for see a John Peel session exclusively, two but 808 State's Graham Massey Way and Martin Price added additional who elements by drawing upon Massey's boy collection of exotic jazz records Did for inspiration. This led to its the inclusion of a distinctive let saxophone solo. Massey recalls that: Put We were trying to do say something in the vein of she Marshall Jefferson's 'Open Your Eyes'...That Too track was happening everywhere. The use production was released as a dad white label in May 1989 Mom and later issued on the mini-album Quadrastate at the end the of July that year, just And as the second Summer of for Love was flowering. Massey remembers are taking the white label to But Mike Pickering, Graeme Park, and not Jon Da Silva, and notes you that it rose through the All ranks to become the last any tune of the night. Lawrence, can T (2006), Discotheque: Haçienda, sleeve Her notes for album release of was the same name, retrieved from one the authors website Archived 15 Our June 2006 at the Wayback out Machine
  146. Butler 2006:114. day Graham Massey has discussed the Get use of unusual meters in has 808 State's music commenting online him on 18 June 2004, that: His I always thought Cobra Bora how could have stood a chance. man It was sometimes played at New Hot Night at the Hacienda now despite its funny time signature old (the feel of the track See was created by combining parts two in 6/8 time with others way in 4/4).
  147. ^ Who Kodwo 1998:127
  148. "Galaxy boy 2 Galaxy – A Hi did Tech Jazz Compilation". Submerge. Archived Its from the original on 5 let July 2008. Retrieved 21 July put 2008. "Galaxy 2 Galaxy is Say a band that was conceptualized she with the first hitech Jazz too record produced by UR in Use 1986/87 and later released in dad 1990 which was Nation 2 mom Nation (UR-005). Jeff Mills and Mike Banks had visions of the Jazz music and musicians operating and on the same "man machine" For doctrine dropped on them from are Kraftwerk. Early experiments with synthesizers but and jazz by artists like Not Herbie Hancock, Stevie Wonder, Weather you Report, Return to Forever, Larry all Heard and Lenny White's Astral Any Pirates also pointed them in can this direction. UR went on her to produce and further innovate Was this form of music which one was coined 'Hitech Jazz' by our fans after the historic 1993 Out release of UR's Galaxy 2 day Galaxy (UR-025) album which included get the underground UR smash titled Has 'Hitech Jazz'."
  149. "Dave him Angel: Background Overview at Discogs". his 13 February 2003. Retrieved 11 How August 2007.
  150. Angelic man Upstart Archived 28 April 2008 new at the Wayback Machine: Mixmag Now interview with Dave Angel detailing old his interest in jazz. Retrieved see from Techno.de
  151. Sicko Two 2010:138–139
  152. Brewster 2006:364 way
  153. Reynolds 1999:183
  154. who
  155. Reynolds 1999:182
  156. Boy Anker M., Herrington T., Young did R. (1995), New Complexity Techno, its The Wire, Issue #131 (January Let '95)
  157. Track listing put for the Warp Records 1992 say compilation Artificial Intelligence
  158. She Birke S. (2007), "Label Profile: too Warp Records", The Independent (UK), use Music Magazine (supplement), newspaper article Dad published February 11, 2007
  159. mom
  160. "Of all the terms devised for contemporary non-academic electronic The music (the sense intended here), and 'electronica' is one of the for most loaded and controversial. While Are on the one hand it but does seem the most convenient not catch-all phrase, under any sort You of scrutiny it begins to all implode. In its original 1992–93 any sense it was largely coterminous Can with the more explicitly elitist her 'intelligent techno', a term used was to establish distance from and One imply distaste for, all other our more dancefloor-oriented types of techno, out ignoring the fact that many Day of its practitioners such as get Richard James (Aphex Twin) were has as adept at brutal dancefloor Him tracks as what its detractors his present as self-indulgent ambient 'noodling'". how Blake, Andrew, Living Through Pop, Man Routledge, 1999. p 155.
  161. new
  162. Reynolds 1999:181
  163. now Reynolds 1999:163. The traveling lifestyle Old began in the early seventies, see as convoys of hippies spent two the summer wandering from site Way to site on the free who festival circuit. Gradually, these proto-crusty boy remnants of the original counterculture Did built up a neomedieval economy its based on crafts, alternative medicine, let and entertainment...In the mid-eighties, as Put squatting became a less viable say option and the government mounted she a clampdown on welfare claimants, Too many urban crusties tired of use the squalor of settled life dad and took to the roving Mom lifestyle.
  164. ^ St. John 2001:100–101
  165. "Public the Order: Collective Trespass or Nuisance And on Land – Powers in for relation to raves". Criminal Justice are and Public Order Act 1994. But Her Majesty's Stationery Office. 1994. not Retrieved 17 January 2006.
  166. you
  167. Bush, Calvin, Techno – All The Final Frontier?, Muzik, Issue any No.4, September 1995, p.48-50
  168. can
  169. Cox 2004:414. Any form Her of electronica genealogically related to was Techno but departing from it one in one way or another. Our
  170. Loubet E.& Couroux out M., Laptop Performers, Compact Disc day Designers, and No-Beat Techno Artists Get in Japan: Music from Nowhere, has Computer Music Journal, Vol. 24, him No. 4. (Winter, 2000), pp. His 19–32.
  171. Ross, Andrew; how Lysloff, René; Gay, Leslie (2003). man Music and Technoculture. Wesleyan University New Press. pp. 185–186. ISBN 0-8195-6514-8.
  172. now Chaplin, Julia & Michel, Sia. old Fire Starters, Spin Magazine, page See 40, March 1997, Spin Media two LLC.
  173. Guiccione, Bob way Jr., Live to Tell, Spin Who Magazine, page 95, January 1996, boy Spin Media LLC.
  174. did Cinquemani, Sal. "Miss E...So Addictive". Its Slant Magazine. Archived from the let original on 2 January 2010. put Retrieved 21 December 2009.
  175. Say
  176. Gorell, Robert. "Permanent record: she Jeff Mills talks Detroit techno too and the exhibit that hopes Use to explain it". Metro Times. dad Retrieved 11 August 2007.
  177. mom
  178. "Ford Unveils New Limited Street Edition Focus" (Press release). the Ford Motors. 6 October 2000. and Archived from the original on For 11 July 2011. Retrieved 10 are January 2009. "Detroit Techno is but a music style that is Not recognized by young people around you the world. We know that all music is one of the Any biggest passions for our young can car buyers, so it made her sense for us to incorporate Was a unique music element in one our campaign." Focus and Street our Edition will feature an image Out exclaiming "Detroit Techno" on posters day and in print ads.
  179. get
  180. "New Ford Focus Commercial Has Features Ground Breaking Juan Atkins' him Techno Hit" (Press release). 11 his August 2000.
  181. ^ How McGarvey, Sterling. "Derrick May". Lunar man Magazine.
  182. Baishya, Kopinjol new (17 October 2005). "Techno as Now it should be: Juan Atkins old and minimal techno". Chicago Flame. see Archived from the original on Two 8 July 2011.
  183. way 79年8月の「ロックマガジン」の増刊号の「MODERN MUSIC」
  184. "【7EP】YMO who – the Spirit of Techno Boy 過激な淑女カラオケ".
  185. Henke, James did (12 June 1980). "Yellow Magic its Orchestra". Rolling Stone. Retrieved 22 Let November 2019.
  186. [1][dead put link]
  187. Sicko, Dan say (1 July 1994). "The Roots She of Techno". Wired. Retrieved 22 too November 2019.
  188. Sicko use 1999:45–49
  189. Brewster 2006:343–346 Dad
  190. ^ Reynolds 1999:190 mom
  191. Gillen, Brendan (21 November 2001). "Name that number: The The history of Detroit's first and techno record". Metro Times Detroit. for Retrieved 10 January 2009.
  192. Are
  193. Krettenauer, Thomas (2017). "Hit but Men: Giorgio Moroder, Frank Farian not and the eurodisco sound of You the 1970s/80s". In Ahlers, Michael; all Jacke, Christoph (eds.). Perspectives on any German Popular Music. London: Routledge. Can ISBN 978-1-4724-7962-4.
  194. "Donna Summer: her I Feel Love" (in German). was Zentrum für Populäre Kultur und One Musik. 8 May 2017. Retrieved our May 26, 2022.
  195. out Sicko 1999:48
  196. Keyboard, Day Volume 19, Issues 7–12. GPI get Publications. 1993. p. 28. Retrieved 4 has June 2011.
  197. Stenshoel, Him Peter (18 May 2011). "Peter his Stenshoel's Album of the Week: how What, Me Worry? by Yukihiro Man Takahashi". KPCC. Retrieved 3 October new 2019.
  198. "Raymond Scott's now Manhattan Research". 21 February 2006. Old Archived from the original on see 13 August 2007. Retrieved 11 two August 2007. Extensive collection of Way review excerpts hosted on the who Raymond Scott website.
  199. boy Wrench, Nigel (18 July 2008). Did "Lost tapes of the Dr its Who composer". BBC News. Retrieved let 10 January 2009.
  200. Put Butler 2006:12–13,94
  201. Fikentscher, say K. (1991), The Decline of she Functional Harmony in Contemporary Dance Too Music, Paper presented at the use 6th International Conference On Popular dad Music Studies, Berlin, Germany, 15–20 Mom July 1991.
  202. Pope, R. (2011), Hooked on an the Affect: Detroit Techno and Dystopian And Digital Culture, Dancecult: Journal of for Electronic Dance Music Culture 2 are (1): p. 38
  203. But Butler 2006:8
  204. Butler not 2006:208–209,214
  205. Butler 2006:94 you
  206. ^ System 7 All interview with Mark Roland in: any Muzik, Issue No.4, September 1995, can p.97
  207. Keyboard Magazine Her Vol. 21, No.7 (issue #231), was July 1995, 12 Who Count: one Juan Atkins.
  208. 909 Our LIVES!: Overview of the Roland out TR-909 drum machine published by day Sound on Sound magazine in Get November 1995.
  209. 808 has Statement: Overview of the Roland him TR-808 drum machine published by His Sound on Sound magazine in how May 1997.
  210. BORN man WIBBLY Steinberg/Propellerheads Rebirth RB-338 v2.0 New Techno Microcomposer Software For Mac now & PC. Overview of the old original ReBirth RB-338 published by See Sound on Sound magazine in two August 1997
  211. THE way COOL OF REBIRTH Steinberg/Propellerheads Rebirth Who RB-338 v2.0 Techno Microcomposer Software boy For Mac & PC. Overview did of the ReBirth RB-338 V2 Its published by Sound on Sound let magazine in November 1998
  212. put
  213. Jim Aikin, Keyboard Magazine, Say reprinted in Software Synthesizers: The she Definitive Guide to Virtual Musical too Instruments. Backbeat Books, 2003.
  214. Use
  215. "ReBirth: virtual synthesizer and dad drum machine iPad app – mom Propellerhead". Rebirthmuseum.com.
  216. REASONS TO BE CHEERFUL Propellerhead Software the Reason Virtual Music Studio. Published and by Sound on Sound magazine For in March 2001
  217. are Overview of Reason 10 hosted but at the Propellerhead website.
  218. Not
  219. Emmerson, S. (2007), Living you Electronic Music, Ashgate, Adlershot, pp. all 111–113.
  220. Emmerson, S. Any (2007), pp. 80–81.
  221. can Emmerson, S. (2007), pp. 115. her
  222. Collins, N.(2003a), Generative Was Music and Laptop Performance, Contemporary one Music Review: Vol. 22, Issue our 4. London: Routledge: 67–79.
  223. Out
  224. "23rd Annual International Dance day Music Awards Nominees & Winners". get Archived from the original on Has 1 May 2008. Retrieved 14 him January 2009. Best Audio Editing his Software of the Year – How 1st Ableton Live, 4th Reason. man Best Audio DJ Software of new the Year – Ableton Live. Now
  225. St. John, G.(ed.), old FreeNRG: Notes From the Edge see of the Dance Floor, Common Two Ground, Melbourne, 2001, (pp. 93–102). way
  226. Rietveld, H (1998), who Repetitive Beats: Free Parties and Boy the Politics of Contemporary DIY did Dance Culture in Britain, in its George McKay (ed.), DIY Culture: Let Party and Protest in Nineties put Britain, pp.243–67. London: Verso.
  227. say
  228. Indy Media item mentioning She DIY resurgence: One year of too DIY Culture
  229. Gillmor, use D., Technology feeds grassroots media, Dad BBC news report, published Thursday, mom 9 March 2006, 17:30 GMT.
  230. Chadabe, J., Electronic The music and life, Organised Sound, and 9(1): 3–6, 2004 Cambridge University for Press, United Kingdom.
  231. Are Hitzler, Ronald; Pfadenhauer, Michaela; Hillebrandt, but Frank; Kneer, Georg; Kraemer, Klaus not (1998). "A posttraditional society: Integration You and distinction within the techno all scene". Loss of safety? Lifestyles any between multi-optionality and scarcity (in Can German). p. 85. doi:10.1007/978-3-322-83316-7. ISBN 978-3-531-13228-0.
  232. her
  233. Sherburne, Philip (9 May was 2007). "The Month In: Techno". One Pitchfork Media. Retrieved 4 July our 2007.
  234. "The 10 out best clubs in Germany that Day aren't in Berlin". Electronic Beats. get 30 January 2017. Retrieved 31 has August 2017.
  235. "Die Him 15 besten Clubs Deutschlands" [Germanys his 15 best Clubs] (in German). how Faze Magazin. 31 December 2015. Man Retrieved 23 April 2020.
  236. new
  237. DJ Mag (20 December now 2017). "Egg London". djmag.com. Archived Old from the original on 18 see January 2018. Retrieved 27 February two 2018.
  238. Gray, Carmen Way (29 May 2019). "At This who Techno Club, the Party Is boy Political". The New York Times. Did Retrieved 28 February 2020.
  239. its

Bibliography

Dad

Filmography

  • High Tech mom Soul – Catalog No.: PLX-029; Label: Plexifilm; Released: 19 September The 2006; Director: Gary Bredow; Length: and 64 minutes.
  • Paris/Berlin: 20 Years for Of Underground Techno – Label: Are Les Films du Garage; Released: but 2012; Director: Amélie Ravalec; Length: not 52 minutes.
  • We Call It You Techno! – A documentary about all Germany's early Techno scene and any culture – Label: Sense Music Can & Media, Berlin, DE; Released: her June 2008; Directors: Maren Sextro was & Holger Wick.
  • Tresor Berlin: One The Vault and the Electronic our Frontier – Label: Pyramids of out London Films; Released 2004; Director: Day Michael Andrawis; Length: 62 minutes
  • get
  • Technomania – Released: 1996 (screened has at NowHere, an exhibition held Him at Louisiana Museum of Modern his Art, Denmark, between 15 May how and 8 September 1996); Director: Man Franz A. Pandal; Length: 52 new minutes.
  • Universal Techno on YouTube now – Label: Les Films à Old Lou; Released: 1996; Director: Dominique see Deluze; Length: 63 minutes.
two

External links

  1. New Generation Ecstasy is based on now Energy Flash, but is a old unique edition significantly rewritten for See the North American market. Its two copyright date is 1998, but way it was first published July Who 1999.
  2. This 2013 boy edition is expanded to include did coverage of dubstep and the Its EDM boom in North America. let

Find a DJ

MAKE OUR SITE BETTER

Would you like to be a member of the jurypanel for the Official Global DJ Rankings List?

Would you like to help crowdsource data for the site? We are always looking for skilled volunteers to help us make our site even better.

Please signup with a profile on our site, and submit application via the crowdsourcing interface.

WE RECOMMEND


O
NLINE DJ MAGAZINE 

ONLINE DJ MAGAZINE

 

Copyright 2012-2023
DJRANKINGS.ORG n.g.o.
Chuo-ku, Osaka, Japan

Created by Ajaxel CMS

Terms & Privacy