| Techno is a form of electronic dance music that became prominent in Detroit, Michigan during the mid-1980s with influences from Chicago House, electro, New Wave, Funk and futuristic fiction themes that were prevalent and relative to modern culture during the end of the Cold War in industrial America at that time. The creation of Techno is largely credited to D.J. Ben Russell after first appearing on the Detroit local radio. Though personally not ever continuing his career many bands picked up the beat and caused Techno to be what it is today. Following the initial success of Detroit Techno as a musical culture — at the very least on a regional level — an expanded and related subset of genres in the 1990s emerged globally.
The term "techno" is derived from "technology". Music journalists and fans of the genre are generally selective in their use of the term, careful not to conflate it with related but distinct genres (i.e. house, trance, hardcore). At the same time, "techno" is often confused with general terms such as electronic music and dance music, particularly in the Americas and Australia. history: Techno was primarily developed by "The Belleville Three", a cadre of men who were attending college, at the time, near Detroit, Michigan. The budding musicians – former high school friends and mix tape traders Juan Atkins, Derrick May, and Kevin Saunderson – found inspiration in Midnight Funk Association, an eclectic, 5-hour, late-night radio program hosted on various Detroit radio stations including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson. Mojo's show featured heavy doses of electronic sounds from the likes of Giorgio Moroder, Kraftwerk, and Tangerine Dream, among others. Though initially conceived as party music that was played on daily mixed radio programs and played at parties given by cliquish, Detroit high school clubs, it has grown to be a global phenomenon. High school clubs such as Snobbs, Hardwear, Brats, Comrades, Weekends, Rumours, and Shari Vari created the incubator in which Techno was grown. These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with innovative DJs and eclectic new music. As these local clubs grew in popularity, groups of DJs began to band together and market their mixing skills and sound systems to the clubs under names like Direct Drive and Audio Mix in order to cater to the growing audiences of listeners. Locations like local church activity centers, vacant warehouses, offices and YMCA auditoriums were the early locations where the underage crowds gathered, and where the musical form was nurtured and defined. The music soon attracted enough attention to garner its own club, the Music Institute at 1315 Broadway in downtown Detroit. It was founded by Chez Damier, Derrick May and a few other investors. Though short-lived, this club was known internationally, for its all night sets, its sparse white rooms, and its juice bar stocked with "smart drinks" (the Institute never served liquor). Relatively quickly, techno began to be seen by many of its originators and up-and-coming producers as an expression of Future Shock post-industrial angst. It also took on increasingly high tech and science-fiction oriented themes. The music's producers were using the word "techno" in a general sense as early as 1984 (as in Cybotron's seminal classic "Techno City"), and sporadic references to an ill-defined "techno-pop" could be found in the music press in the mid-1980s. However, it was not until Neil Rushton assembled the compilation Techno! The New Dance Sound Of Detroit for Virgin Records (UK) in 1988 that the word came to formally describe a genre of music. Some European techno fans, however, credit the genre name techno to German DJ Talla 2XLC who allegedly used it as a specific music genre label in his record store as far back as 1982, while "The Belleville Three" didn't happen before the mid-80s. Talla's band Moskwa TV had often been featured on Midnight Funk Association, the inspiration of "The Belleville Three".[citation needed] Techno has since been retroactively defined to encompass, among others, works dating back to "Shari Vari" (1981) by A Number Of Names, the earliest compositions by Cybotron (1981), Donna Summer and Giorgio Moroder's "I Feel Love"(1977), "From Here to Eternity" (1977), and the more danceable selections from Kraftwerk's repertoire between 1977 and 1983. These electro-disco tracks share with techno a dependence on machine-generated beats and dance-floor popularity. In the years immediately following the first techno compilation's release, techno was referenced in the dance music press as Detroit's relatively high-tech, mechanical brand of house music, because on the whole, it retained the same basic structure as the soulful, minimal, post-disco style that was emanating from Chicago and New York City at the time. The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and being influenced by house in particular. This influence is especially evident in the tracks on the first compilation, as well as in many of the other compositions and remixes they released between 1988 and 1992. May's 1987–88 hit "Strings Of Life" (released under the nom de plume Rhythim Is Rhythim), for example, is considered a classic in both the house and techno genres. At the same time, there is evidence that the Chicago sound was influenced by the Belleville Three — allegedly, May loaned Chicago-based house musician Keith "Jack Master Funk" Farley the equipment to make the classic track "House Nation"; early Detroit techno records reportedly sold well in Chicago; and Atkins believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound. The computer and synthesizers music started in Germany in mid of 1970s, and became popular with a Japanese band YMO "Yellow Magic Orchestra" that was established in 1978. In the late 1980s, different subgenres of techno music began to emerge, including hardcore techno, an intensified style typified by a fast tempo (160 bpm and up) and the rhythmic use of distorted and atonal industrial-like beats and samples, and ambient techno, with artists such as The Orb and Aphex Twin producing dub music and ambient influenced techno that later had an influence on artists dabbling in the minimal techno and what was originally techno's experimental, non-dance-oriented offshoot, IDM. Acid techno, influenced by the heavy use of the Roland TB-303 for bass and lead sounds in the style of acid house, enjoyed a surge of popularity in the mid-1980s and went on to influence acid trance. Tech house music came to prominence in the late 1990s and combines the basic structure of house music with elements from techno such as shorter, often distorted kicks, smaller hi-hats, noisier snares and more synthetic or acid sounding synth lines. Less well-known styles related to techno or its subgenres include Yorkshire bleeps and bass or "Bleep," a regional variant which was prominent in the very early 1980s; wonky techno; ghettotech, which combines some of the aesthetics of techno with hip-hop, house music, and Miami bass; and the subgenres of hardcore techno, including gabber, speedcore, terrorcore, Schranz, breakcore and digital hardcore. Occasionally, well-funded pop music producers will formulate a radio or club-friendly variant of techno. The music of Technotronic and 2 Unlimited. were early examples of this phenomenon. Established pop stars also sometimes get techno makeovers, such as when William Orbit produced Madonna's album Ray of Light. In recent years, the publication of relatively accurate histories by authors Simon Reynolds (Generation Ecstasy aka Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the Detroit Electronic Music Festival, have helped to diffuse the genre's more dubious mythology. Techno has further expanded into the charts as more artists such as Orbital, Underworld and Moby have made the style break through to the mainstream pop culture while producers and DJs such as Laurent Garnier, Dave Clarke, Richie Hawtin and Jeff Mills have continued to explore newer sounds. substyles: Acid techno Detroit techno/U.S. techno Minimal techno taken from : http://en.wikipedia.org/wiki/Techno |
