Techno (e.g., Carl Cox, Derrick May) -

Techno (e.g., Carl Cox, Derrick May) ?

It seems you’re referring to artists associated with techno music, specifically pioneers like Carl Cox and Derrick May. Both are influential figures in the genre, known for their contributions to the development of electronic dance music.

Carl Cox: A renowned British DJ and producer, Carl Cox is one of the most well-known figures in the techno and house music scenes. He is known for his dynamic DJ sets, ability to read the crowd, and his career spanning decades. His style is energetic and spans various genres within electronic music, but techno has been central to his sound. He’s also known for his long-running residency at Space Ibiza and for being a key figure in promoting the global dance music culture.
Derrick May: An American DJ and producer, Derrick May is considered one of the “Belleville Three” (along with Juan Atkins and Kevin Saunderson), who were instrumental in the birth of Detroit techno. His work, particularly in the late 1980s and early 1990s, helped shape the foundational sound of techno with tracks like Strings of Life. His approach blends electronic rhythms with soulful melodies, bridging the gap between the machine-driven sounds of techno and more melodic or expressive elements.

Both artists, in their own unique ways, represent the core of techno’s diverse and ever-evolving landscape. Would you like more details on their specific works or influence on techno music?

What is Techno (e.g., Carl Cox, Derrick May) ?

Techno is a genre of electronic dance music (EDM) that originated in the mid-to-late 1980s, primarily in Detroit, Michigan, USA. It is characterized by repetitive instrumental music created using electronic instruments such as synthesizers, drum machines, and sequencers. Techno focuses on rhythm and production techniques, with an emphasis on beats and synthesizer sounds, often featuring minimalistic and futuristic elements.

Key Elements of Techno:

Steady Beats: Techno tracks typically feature a 4/4 beat, with a bass drum hitting every beat. The tempo usually ranges from 120 to 150 BPM (beats per minute), making it perfect for dancefloors.
Synthesizers & Drum Machines: Key instruments in techno production include synthesizers for melodic and atmospheric sounds and drum machines (e.g., the Roland TR-808 and TR-909) for percussion.
Repetitive & Hypnotic Patterns: The genre focuses on repetitive patterns that can create a trance-like or hypnotic effect, making it suitable for long, immersive listening or dancing experiences.
Minimalism: Many techno tracks are minimalistic, focusing on a few key elements that evolve over time. This creates a deep, driving energy that’s often experimental or ambient.

Influence of Carl Cox and Derrick May:

Carl Cox: While Carl Cox is known for blending various sub-genres, his impact on techno is immense. He’s celebrated for his energetic DJ sets and mixing techniques that often combine house, techno, and other forms of electronic music. His contributions have helped shape the modern festival and club culture.
Derrick May: One of the founders of the Detroit techno scene, Derrick May, alongside Juan Atkins and Kevin Saunderson, is credited with pioneering techno music. His work incorporates elements of funk, jazz, and soul, giving techno a more melodic and emotive edge. May’s tracks like Strings of Life are iconic and helped define the genre’s sound.

In essence, techno has grown into a global movement, influencing not just music, but culture, fashion, and lifestyle, and it has many sub-genres like minimal techno, acid techno, and hard techno. It remains one of the most enduring genres in the electronic music world.

Who is required Techno (e.g., Carl Cox, Derrick May) ?

The term “Techno” refers to a music genre, and artists like Carl Cox and Derrick May are prominent figures who have shaped and popularized it. However, if you’re asking about who is required to perform or create Techno music or who needs to be involved in the techno scene, the following roles and individuals are essential to the genre’s development and continuation:

1. DJs:

DJs are at the heart of the techno scene, especially in club and festival settings. They are responsible for playing and mixing tracks to create the desired atmosphere for the crowd.
Carl Cox, for example, is a legendary DJ known for his energetic sets and ability to mix different styles of techno, keeping audiences engaged for hours.

2. Producers:

Producers create techno tracks in studios, using a variety of electronic instruments such as synthesizers, drum machines, and computers. They craft the beats, melodies, and structure of the music.
Derrick May is an example of a producer whose work has become iconic in the techno world. His productions, such as Strings of Life, remain foundational to the genre.

3. Music Technicians/Engineers:

These professionals are needed to record, mix, and master techno tracks. They ensure the sound quality of the music and are skilled in working with electronic music production tools and software.

4. Event Organizers/Promoters:

Techno music thrives in live settings, whether in underground clubs, large festivals, or smaller venues. Event organizers and promoters help bring techno events to life, booking DJs and producers, managing logistics, and ensuring the right atmosphere for fans.

5. Fans & Clubbers:

The techno scene would not exist without an audience. The passionate followers of the genre—those who attend live shows, support the artists, and contribute to the overall culture—are essential in keeping the movement alive.

6. Record Labels:

Record labels play a crucial role in promoting and distributing techno music. Labels like Tresor Records or Drumcode Records are instrumental in supporting and showcasing techno artists.

When is required Techno (e.g., Carl Cox, Derrick May) ?

Techno music, such as the works of Carl Cox and Derrick May, is typically “required” or in demand during the following times and contexts:

1. Nightlife and Clubs:

Techno is a central genre in nightclubs and dance venues. Techno DJs, including Carl Cox, are regularly booked for events where people gather to dance, socialize, and enjoy long, immersive sets.
Techno nights or club events often take place on weekends, especially on Friday and Saturday nights, but can also occur during special events or weeknight parties.

2. Festivals:

Major electronic music festivals around the world often feature techno music as a staple. Notable festivals include Awakenings Festival (Netherlands), Movement Detroit (USA), Time Warp (Germany), and Sonar Festival (Spain). These festivals typically happen annually and often take place during the summer months.
Techno performances by icons like Carl Cox and Derrick May are a major draw at these festivals, and their appearances are highly anticipated.

3. Special Events and Parties:

Techno music is often played during special events such as raves, warehouse parties, and underground gatherings. These events can be held at various times, depending on the location and the organizers.
These parties can take place in unconventional venues, such as abandoned warehouses, open-air locations, or exclusive private venues.

4. Global Tours:

Artists like Carl Cox and Derrick May often go on world tours, playing in cities and countries around the world. Their performances are highly sought after, and the demand for their appearances typically peaks during these tours.
These tours are usually planned months in advance, and fans know the dates of these events through the artists’ websites, social media, and event promoters.

5. Radio Shows & Live Streams:

Techno music is often featured in radio shows or live streaming platforms (e.g., Carl Cox’s Global Radio or online streaming through platforms like Beatport Live). These shows often occur weekly or monthly and give fans access to the music when they can’t attend live events.
Some artists also host live streams where fans can tune in from anywhere in the world to experience the techno sets in real-time.

6. Cultural and Celebratory Events:

Techno can also be “required” or in demand during celebratory events like New Year’s Eve parties, or any event where high-energy electronic music is appropriate. Techno sets are popular at such times, where people gather to celebrate, dance, and experience unique music.

7. Personal Enjoyment and Online Listening:

People also enjoy techno music at home, during private events, or for personal enjoyment. Whether it’s on streaming platforms like Spotify, Apple Music, or SoundCloud, or by purchasing vinyl records and digital tracks, fans of techno listen to the music during any time of day, depending on their personal preferences.

In short, techno is “required” or in demand anytime people are looking to enjoy vibrant, high-energy electronic music, especially in settings like clubs, festivals, and live events. Techno’s energy and immersive soundscapes make it a great fit for late-night parties, dance floors, and global music festivals.

COURTESY : Kappa FuturFestival

Where is required Techno (e.g., Carl Cox, Derrick May) ?

Techno music, such as the sounds of Carl Cox and Derrick May, is required or in demand in various places around the world where electronic dance music (EDM) culture thrives. These include:

1. Nightclubs and Dance Venues:

Techno is a staple in nightclubs and dance venues that cater to electronic music lovers. Clubs that specialize in techno often host local and international DJs like Carl Cox and Derrick May.
Major cities with vibrant club scenes include:
- Berlin (Germany): Home to iconic techno clubs like Berghain and Sisyphos.
- Detroit (USA): The birthplace of Detroit techno, with venues like TV Lounge and The Marble Bar.
- London (UK): Venues like Fabric and Printworks are popular for techno nights.
- Amsterdam (Netherlands): Known for techno parties and events at venues like De School and Shelter.
- Barcelona (Spain): Hosts techno events, particularly during Sonar Festival.

2. Global Music Festivals:

Techno is a central part of many electronic music festivals worldwide, especially those that emphasize underground and techno subgenres. Major festivals include:
- Awakenings Festival (Netherlands): One of the largest techno festivals in the world.
- Movement Detroit (USA): A celebration of Detroit techno and its pioneers like Derrick May.
- Time Warp (Germany): Famous for its techno performances, especially in Mannheim and New York.
- Sonar Festival (Spain): A festival that blends music, technology, and creativity, with a strong focus on electronic music, including techno.
- Dekmantel (Netherlands): Known for its high-quality techno lineup.

3. Underground Parties and Raves:

Techno also thrives in underground parties or raves, often held in non-traditional venues like warehouses, abandoned factories, or private properties. These events typically occur in cities with vibrant underground scenes, such as:
- Berlin: Famous for its techno underground culture.
- London: Hidden, unlicensed raves are often part of the city’s techno culture.
- Paris (France): Has a strong underground electronic music movement.

4. Live Streaming and Online Platforms:

For those who can’t attend events in person, techno can be found in online live streams, especially from well-known DJs and producers. Artists like Carl Cox often live stream their sets on platforms like:
- Beatport Live
- YouTube
- Twitch
- Facebook Live
- Instagram Live

5. Record Stores and Vinyl Culture:

Techno has a strong presence in vinyl record stores, especially in cities with a rich music culture. People who prefer analog sound or collect rare techno vinyl records can find these in cities like:
- Berlin: Known for its record stores and deep techno culture.
- London: Stores like Phonica Records and Sounds of the Universe are key spots for electronic music fans.
- New York: Record stores like A1 Records offer a range of techno music.

6. Art and Cultural Events:

Techno can also be required at art and cultural events that aim to blend music with visual arts, technology, and creativity. Festivals or events such as Sonar Festival in Barcelona and Atonal in Berlin integrate techno music with cutting-edge art and technology.

7. Touring Events and International Venues:

Techno artists like Carl Cox and Derrick May travel globally for their international tours. Their performances are required and often performed in cities that are known for their love of electronic music, including:
- Tokyo (Japan): Venues like Contact Tokyo host techno events.
- Sydney (Australia): Clubs like The Met are known for their techno nights.
- Rio de Janeiro (Brazil): Techno parties often take place here, especially during festivals.

8. Festive Occasions (New Year’s Eve, etc.):

Techno is required at major celebratory events such as New Year’s Eve parties, where people gather to celebrate and dance into the new year. These events are typically in major cities that have a strong nightlife culture.

How is required Techno (e.g., Carl Cox, Derrick May) ?

echno music, such as that produced by Carl Cox and Derrick May, is “required” or valued in several ways depending on the context in which it is used. Here’s how techno is required in different scenarios:

1. Live Performances and Events:

Techno DJs and Producers like Carl Cox and Derrick May are required to perform at music festivals, clubs, and raves where their live performances are a central part of the event. These artists are known for creating immersive, high-energy atmospheres with their sets, making them a key requirement for the success of techno events.
The energy and skill of techno artists drive crowds into a state of trance, creating a memorable experience, making these performances an integral part of the music scene.

2. Electronic Music Culture:

Techno is essential in the electronic music culture for its rhythmic complexity, layered beats, and experimental sounds. Carl Cox, Derrick May, and other techno artists are required as ambassadors of this genre, shaping its development and ensuring its presence in the broader music landscape.
The genre is required in various communities that thrive on avant-garde electronic music. These communities look to techno as a defining genre that represents freedom of expression, innovation, and futuristic thinking.

3. Innovation and Sound Design:

Techno requires innovative sound design and cutting-edge technology. Producers like Derrick May are required to push the boundaries of sound by creating new, evolving elements that influence not just techno, but also other electronic genres. Through the use of synthesizers, drum machines, and software, techno artists are required to bring fresh sounds that challenge existing musical norms.
Techno is often at the forefront of technological advancement in music, requiring producers to stay ahead of trends and experiment with new methods of music creation and performance.

4. Community and Cultural Identity:

Techno is required to create a sense of community. For fans, attending a Carl Cox or Derrick May event isn’t just about the music—it’s also about connecting with a global network of people who share similar interests, values, and ideas around music. Techno parties and festivals often serve as a cultural gathering point where fans and artists unite under the banner of the genre.
This sense of belonging and cultural identity is vital for the ongoing importance and demand for techno, especially in underground scenes.

5. Nightlife and Entertainment:

In nightlife settings, techno is required for creating the right environment. The genre’s deep, hypnotic beats make it ideal for clubs, where people go to dance, escape, and experience something transformative. Carl Cox, as a seasoned DJ, provides the energy required to captivate and energize crowds through long sets that span hours.
For many, techno sets are not just about the music; they are part of an experience—light, visuals, and the collective energy of a crowd. In such settings, techno is a necessary element for creating that unique vibe.

Case study is Techno (e.g., Carl Cox, Derrick May) ?

A case study on Techno Music (featuring artists like Carl Cox and Derrick May) could explore several facets of the genre, its evolution, its impact on the music industry, and its cultural significance. Below is an example case study that covers the genre’s historical development, key influencers, and the impact of artists like Carl Cox and Derrick May.

Case Study: The Evolution and Impact of Techno Music (Carl Cox & Derrick May)

1. Introduction to Techno Music

Techno is a genre of electronic dance music that emerged in the mid-1980s in Detroit, Michigan, as a fusion of electronic music, futuristic sounds, and various cultural influences. It is characterized by repetitive instrumental music, typically in a 4/4 time signature, with deep basslines, synthesizers, and drum machines.

Key pioneers like Derrick May and Carl Cox helped define the sound and culture of techno, pushing it beyond the underground into mainstream recognition.

2. The Origins of Techno and the Role of Derrick May

Derrick May, one of the pioneers of Detroit techno, is often referred to as one of the “Belleville Three,” alongside Juan Atkins and Kevin Saunderson, who were instrumental in shaping the Detroit techno sound. Derrick May’s signature style combined electronic soundscapes with funk, soul, and house influences, creating a futuristic yet soulful vibe that resonated globally.

Key Milestones in Derrick May’s Career:

“Strings of Life” (1987): Derrick May’s iconic track became an anthem in the early techno movement. The track blended jazz, classical, and electronic elements, setting a precedent for the genre’s diversity.
Global Recognition: Derrick May’s performances in key cities like Berlin, London, and New York helped to establish Detroit techno as an influential force in the global electronic music scene.

3. Carl Cox: The International DJ Icon

Carl Cox is one of the most renowned techno DJs and producers in the world. His career began in the UK in the early 1980s when he began DJing at underground rave parties, and his electrifying presence on stage made him a key figure in the global techno scene.

Key Milestones in Carl Cox’s Career:

Innovative DJ Style: Carl Cox was known for his technical skill, energy, and his ability to seamlessly blend techno, house, and acid house tracks, making him a crowd favorite.
Residencies and Festivals: Carl Cox’s residency at Space Ibiza was legendary and contributed greatly to the evolution of the global techno scene. His performances in top festivals like Ultra Music Festival in Miami and Tomorrowland helped him become a global ambassador for techno.
Global Influence: Carl Cox’s influence extends beyond performance into music production, radio shows, and his own label, Intec Digital, where he continues to promote techno artists and release tracks.

4. Techno’s Global Impact and Cultural Significance

Both Derrick May and Carl Cox played vital roles in taking techno music from underground club scenes to global cultural prominence. Techno’s significance extends beyond music, influencing art, fashion, and lifestyle.

Cultural Impact:

Rave Culture: In the 1990s, techno became synonymous with rave culture, particularly in Europe, where large-scale raves and warehouse parties became widespread. Artists like Carl Cox were at the forefront of these events, where techno music became the soundtrack for a new generation.
Art and Fashion: Techno also influenced fashion and visual art, with its neon colors, geometric patterns, and futuristic imagery becoming a hallmark of the rave scene.

Social and Political Influence:

Techno was born out of the socio-political climate of Detroit, where economic decline and social unrest led to the creation of an artistic movement that provided an escape and a form of expression for marginalized communities.
In Europe, techno was embraced by youth subcultures, offering a sense of unity, freedom, and rebellion against mainstream values.

5. Techno’s Commercial Success and Mainstream Appeal

While techno began as an underground genre, its influence has grown exponentially over the years. Artists like Derrick May and Carl Cox have played a key role in pushing techno to international mainstream success.

Key Factors for Techno’s Mainstream Appeal:

Club Culture: Iconic clubs like Berghain in Berlin, Fabric in London, and The Warehouse Project in Manchester have been integral to techno’s popularity.
Festivals: Festivals like Awakenings, Movement Detroit, Tomorrowland, and Ultra Music Festival showcase techno’s global appeal, with Carl Cox often featured as a headliner.
Radio and Streaming: Carl Cox’s radio show, Global Radio, has introduced millions of listeners to techno music, further establishing it as a genre with broad appeal.

6. The Business Side of Techno: Marketing, Branding, and Legacy

The rise of techno music has also brought about significant developments in the music industry, including the branding of DJs and live performances as major commercial events. The business side of techno is intertwined with music labels, event promotions, and merchandising, which all contribute to the success and legacy of artists like Carl Cox and Derrick May.

Carl Cox has created his own brand, with his own label and series of events, including his legendary Cox & Friends tour, that showcases the best of techno talent.
Derrick May is known for his careful selection of projects and collaborations, ensuring that his legacy remains tied to high-quality, boundary-pushing music.

7. Conclusion: The Legacy and Future of Techno Music

The contributions of Carl Cox and Derrick May to the techno genre cannot be overstated. They helped shape not only the sound of techno but its cultural significance and global influence. As techno continues to evolve, with new producers and DJs emerging, the legacy of these pioneers remains firmly planted at the roots of the genre.

Future Directions:

Techno’s Continued Evolution: As the genre evolves, there’s a continued fusion of techno with other genres like ambient, house, and even trap music, helping it remain fresh and relevant to new generations.
Technological Advancements: New technologies in music production and performance, such as VR concerts and AI-driven music production, may shape the future of techno music.

In this case study, the evolution of techno music, particularly through the work of Carl Cox and Derrick May, showcases how the genre has expanded from underground clubs to mainstream festivals and international recognition. The cultural, social, and political context in which techno was born continues to influence its presence in the world of music today.

COURTESY : KlangKuenstler

White paper on Techno (e.g., Carl Cox, Derrick May) ?

White Paper: The Evolution and Global Impact of Techno Music: Insights from Carl Cox and Derrick May

Abstract

This white paper explores the origins, evolution, and global influence of Techno music, focusing on the contributions of two of its most influential figures: Carl Cox and Derrick May. The paper delves into the social, cultural, and technological factors that propelled Techno from underground roots in Detroit to international recognition. By examining the careers of these artists, the document also explores the genre’s business, branding, and global appeal, as well as its impact on modern electronic music.

1. Introduction

Techno music has played a pivotal role in shaping contemporary electronic dance music (EDM). Emerging in the 1980s from Detroit, Michigan, Techno combined electronic soundscapes, industrial beats, and futuristic themes with influences from genres like funk, jazz, and disco. Carl Cox and Derrick May are two of the genre’s foremost pioneers, shaping both its sound and its cultural significance. This paper aims to provide a comprehensive understanding of Techno music through the lens of these two iconic figures.

2. Origins of Techno Music

Techno music was born out of the socio-political climate of the post-industrial landscape of Detroit. Amid economic hardship and racial tensions, a new musical movement emerged that used technology to create innovative sounds that expressed both the hopes and the struggles of urban life. Early pioneers like Juan Atkins, Kevin Saunderson, and Derrick May – collectively known as the “Belleville Three” – fused electronic production with African-American music traditions, creating a new genre that was both futuristic and deeply connected to their cultural heritage.

Key Technological Innovations:

Synthesizers and drum machines, particularly the Roland TR-808 and TR-909, became central to the production of techno, allowing artists to create innovative sounds that had never been heard before.
The use of sequencers and computer software revolutionized the production process, enabling DJs and producers to experiment with new rhythms, effects, and tempos.

3. The Role of Derrick May in Shaping Techno Music

Derrick May was one of the central figures in the creation and popularization of Detroit Techno. Known for his visionary approach to production and performance, May blended elements of soul, funk, and electro into his work, creating a sound that was both emotionally resonant and technologically advanced.

Key Contributions:

“Strings of Life” (1987): May’s iconic track, released under the alias Rhythim Is Rhythim, is often considered one of the definitive anthems of techno. The track combined jazz influences with a deep, electronic sound that pushed the boundaries of what dance music could be.
Global Influence: May’s music spread beyond Detroit to Europe, where it found a receptive audience. His performances at clubs and festivals helped establish Detroit techno as an influential global genre.

Derrick May’s Influence on Techno Culture:

May was instrumental in spreading the techno movement to European cities like Berlin, where techno took root and became associated with the rave scene and countercultural movements.
His work with Transmat Records, a label he founded, helped cement his status as a key figure in the development of techno.

4. Carl Cox: The Global Ambassador of Techno

While Derrick May helped define the sound of Techno, Carl Cox became one of the most visible figures in spreading the genre globally. Hailing from the UK, Cox became known for his energetic DJ performances and innovative approach to mixing.

Carl Cox’s Early Career:

Cox’s introduction to electronic music came through the emerging acid house and house music scenes in the 1980s. He quickly became known for his exceptional technical skills and his ability to blend different genres of electronic music seamlessly.
In the early 1990s, he began playing at prominent clubs such as Ritz, Hacienda, and Shoom, establishing himself as one of the top DJs of his time.

Carl Cox’s Major Contributions:

Space Ibiza Residency (2001-2016): One of Carl Cox’s most iconic achievements was his long-running residency at Space Ibiza, which became a global hub for techno music lovers. His parties attracted international audiences and became an essential part of Ibiza’s cultural fabric.
Innovations in DJing: Cox was one of the first to use three-deck mixing, allowing him to create more complex, dynamic DJ sets. His ability to read the crowd and adjust his performance accordingly made him one of the most sought-after DJs in the world.

Carl Cox’s Global Influence:

Through his performances at major festivals like Ultra Music Festival and Tomorrowland, Carl Cox introduced techno to audiences worldwide. His radio show, Global Radio, has also been a key platform for promoting techno and other forms of dance music.

5. Techno’s Cultural and Social Impact

Techno music emerged as part of a cultural movement that transcended mere entertainment. For many, it became a form of expression, a way to challenge mainstream culture, and a tool for creating alternative communities. The genre is particularly significant for its role in youth subcultures, where it became associated with rave culture and DIY ethos.

Rave Culture and Techno:

In the 1990s, raves became an underground phenomenon, often occurring in abandoned warehouses or open fields, where techno music played a central role.
Techno was seen as a form of rebellion against the mainstream, a way for young people to come together and create their own experiences of freedom and unity.

Techno’s Global Reach:

Techno’s influence spread from the UK and Germany to Brazil, Japan, South Africa, and beyond. Countries all over the world embraced the genre and adapted it to their own unique cultural contexts.
In countries like Germany, techno became synonymous with the Berlin Wall’s fall, symbolizing freedom, unity, and the breaking down of barriers.

6. The Business Side of Techno: Branding, Festivals, and Market Growth

Techno’s mainstream appeal has also led to the development of a highly profitable business side, encompassing live performances, festivals, merchandise, and digital distribution.

Festivals and Live Events:

Festivals like Movement Detroit, Tomorrowland, and Awakenings have become major platforms for techno artists, with Carl Cox often headlining these events.
These festivals are not only about the music but also serve as cultural experiences, drawing massive crowds and contributing significantly to the global economy of live electronic music.

Branding and the DJ as a Superstar:

The DJ has become a central figure in the techno industry, with artists like Carl Cox becoming brand names in their own right. DJs are not only performers but also entrepreneurs, launching record labels, producing their own music, and creating personal brands that extend to fashion, sponsorships, and digital media.

7. Conclusion

The story of Techno music is intrinsically tied to the careers of visionary artists like Derrick May and Carl Cox. From their early contributions in shaping the genre’s sound to their role in establishing techno as a cultural and commercial force, both have been crucial in the evolution of the genre. Techno’s impact is not limited to music alone but extends into social movements, youth culture, global festivals, and business models that continue to shape the industry.

As techno continues to evolve, its legacy is secure, with new artists pushing the genre’s boundaries. The future of techno music looks bright, thanks to the efforts of pioneers like Derrick May and Carl Cox, whose influence will be felt for generations to come.

8. References

May, D. (1987). Strings of Life. Transmat Records.
Cox, C. (2002). Carl Cox Global Radio Show. Worldwide Broadcasting.
Reynolds, S. (2013). Energy Flash: A Journey Through Rave Music and Dance Culture. Soft Skull Press.
DJ Mag (2021). Carl Cox: A Legend in Electronic Music. DJ Mag.

Industrial application of Techno (e.g., Carl Cox, Derrick May) ?

Industrial Applications of Techno Music: Influence of Artists like Carl Cox and Derrick May

Techno music, particularly through artists such as Carl Cox and Derrick May, has evolved beyond its role in entertainment and cultural movements. While it remains a central component of dance music culture, techno’s influence has extended into various industrial applications. These applications span several fields, from technological innovations in music production to its role in enhancing work environments and influencing business trends. Below are some of the significant industrial applications of techno music:

1. Technological Innovation in Music Production

Techno music is inherently tied to technological advancements, particularly in the music production industry. The genre’s reliance on synthesizers, drum machines, and sequencers has pushed the boundaries of digital sound creation and audio engineering. The contributions of artists like Derrick May and Carl Cox in pushing the technological frontier of music have had several industrial implications:

Applications in Sound Engineering and Music Production:

Digital Audio Workstations (DAWs): The complex and innovative soundscapes of techno have driven the development of DAWs (e.g., Ableton Live, Logic Pro), which are used not only by musicians but also in professional audio production for film, TV, and video games.
Synthesizers and Drum Machines: The widespread use of synthesizers and drum machines like the Roland TR-808 and TR-909 in techno music has influenced the design and development of modern music equipment used across various sectors, including television, gaming, and advertising.
Automation and Algorithmic Music: The repetitive nature of techno, combined with algorithmic and generative music techniques, has influenced the automation of sound design in various entertainment industries, particularly in video game soundtracks and interactive media.

2. Sound Design in Film and Advertising

Techno’s high-energy, futuristic, and often experimental nature has found a place in industries like film and advertising, where sound plays a critical role in enhancing the narrative or emotional impact.

Film Industry:

Soundtracks and Scores: Techno’s aggressive beats, atmospheric textures, and experimental sounds have been used in film scores, particularly in genres such as sci-fi and action thrillers. Techno’s futuristic vibe fits well with the themes of dystopian futures, cyberpunk, and high-tech societies.
Examples:
- The iconic soundtrack of the movie Blade Runner 2049 incorporates techno and electronic music influences to convey the futuristic, dystopian world.
- Films like The Matrix and Tron used techno elements to enhance the futuristic and high-energy visuals, helping shape the overall cinematic experience.

Advertising:

Branding and Audio Identity: In advertising, techno’s energetic and hypnotic beats are often employed in ads that seek to promote cutting-edge products, especially in the tech, automobile, and fashion industries. Techno’s driving rhythms can evoke a sense of innovation and modernity, making it an ideal genre for brands looking to project a futuristic image.
Techno-Inspired Commercials: Major global brands have incorporated techno into their marketing campaigns to connect with younger, trend-savvy audiences. Techno is frequently featured in high-energy advertisements for electronics, fashion, and lifestyle products.

3. Workplace and Industrial Productivity

The repetitive, rhythmic nature of techno music has also found a place in workplace environments, particularly those that require focus and productivity. Certain types of techno are known for their minimalist and hypnotic qualities, making them ideal for background music in industries where concentration is key.

Productivity and Focus:

Office Work Environments: Studies suggest that listening to rhythmic, non-lyrical music like techno can enhance focus and cognitive performance, making it useful in environments that require repetitive tasks or problem-solving.
Creative Industries: In fields such as graphic design, programming, and writing, techno music can aid in maintaining energy levels and enhancing creativity. Many artists and creators use it to establish a steady flow of productivity.

Techno Music in Factories and Assembly Lines:

Factory and Manufacturing Settings: Some factories and assembly lines in industries like automotive manufacturing and textile production have experimented with playing techno music to create a high-energy atmosphere that enhances worker motivation and maintains a rhythmic pace to meet production quotas.
Synchronization with Assembly Processes: Techno’s beats and rhythms can be synchronized with assembly processes to help workers maintain a consistent pace throughout their shifts.

4. Techno and the Clubbing Industry: An Economic Force

The global clubbing industry, where techno music is central, has developed into a massive economic sector. The economic impact of techno, as shaped by figures like Carl Cox, extends beyond just the music itself. The nightlife industry around the world has turned into a multi-billion-dollar sector, particularly through the rise of rave culture, festivals, and club tourism.

Event Management and Festival Industry:

Techno music has played a major role in the expansion of electronic music festivals such as Tomorrowland, Ultra Music Festival, and Awakenings. These events often feature big-name DJs like Carl Cox and Derrick May.
Club Tourism: Cities such as Berlin (home of the famous Berghain), Ibiza, and Detroit have become global hubs for techno tourism, driving significant revenue from clubbers traveling to experience world-class DJs and techno events.

Brand Collaborations and Sponsorships:

Brands collaborate with techno artists and festivals, leveraging their appeal to tap into lucrative demographics. Techno sponsorships have extended into industries like fashion, automotive, and technology, creating a synergy between music and brand marketing.

5. The Role of Techno in the Development of Virtual Realities and Gaming

The relationship between techno music and virtual reality (VR) or gaming is growing as immersive technologies develop.

Gaming Industry:

Game Soundtracks: Techno’s pulsing beats and futuristic sounds fit perfectly within the world of video games, especially those in the sci-fi, cyberpunk, and action genres. Games like Rez and Wipeout have used techno-inspired soundtracks to enhance their immersive experience.
VR Experiences: Virtual reality environments designed for social interaction, gaming, and relaxation have incorporated techno music to elevate the sensory experience of users in virtual worlds.

Future Applications:

With the development of metaverse spaces, techno music will likely play a significant role in virtual clubs, concerts, and immersive digital environments, enhancing the sense of realism and emotional engagement.

Conclusion

While techno music remains a cultural cornerstone of dance floors around the world, its industrial applications span a wide range of sectors, including audio technology, advertising, workplace productivity, and the entertainment industry. The innovative nature of techno, as pioneered by artists like Carl Cox and Derrick May, has transcended the music industry, influencing technologies, business models, and cultural trends in industries that continue to embrace the genre’s energy, creativity, and futuristic appeal.

As techno continues to evolve, its influence will likely grow across more industries, continuing to shape the way we work, consume media, and experience the world in both physical and virtual environments.

Research and development of Techno (e.g., Carl Cox, Derrick May) ?

Research and Development of Techno Music: Influence of Artists like Carl Cox and Derrick May

Techno music, originating in Detroit in the late 1980s, has since evolved into a globally recognized genre. Its development has been driven by both technological innovations and the creativity of pioneering artists like Carl Cox and Derrick May. The research and development (R&D) in techno music has centered on multiple facets: sound technology, production techniques, performance innovations, and global cultural influence.

Here is an in-depth look at how research and development have shaped techno music:

1. Technological Innovation in Music Production

a. Sound Synthesis and Electronic Instruments

Techno music is deeply rooted in electronic sound production, and its evolution has been guided by the development of music technology. Key areas of R&D have included:

Synthesizers and Drum Machines:
- Roland TR-808 & TR-909: Early techno pioneers like Derrick May and Juan Atkins extensively used drum machines like the TR-808 and TR-909, which have become iconic in techno music. These machines allowed for the creation of electronic beats, paving the way for techno’s rhythmic, synthesized nature.
- R&D in synthesizers and drum machines improved their functionality, introducing features like sequencing and sound manipulation that allowed artists to craft more intricate compositions. The Roland TB-303, another crucial piece of equipment, revolutionized basslines with its squelchy, resonant sound, which became a hallmark of the genre.
Digital Audio Workstations (DAWs):
- The advent of DAWs like Ableton Live, FL Studio, and Logic Pro was a game-changer for techno producers. These platforms allowed for easier manipulation of samples, loops, and synthesizers, enabling more complex arrangements and soundscapes.
- The development of DAWs helped artists create new production techniques and integrate various sound sources, from hardware to software synths, creating intricate and layered compositions typical of techno music.
VST Plugins and Software Synths:
- The research into virtual instruments and software plugins has provided producers with a range of digital tools that mimic traditional analog synthesizers. For instance, Native Instruments‘ Massive and Arturia’s Analog Lab emulate classic analog gear, making advanced sound design more accessible.
- This allows both established artists like Carl Cox and emerging techno producers to expand their sound palettes, producing futuristic and complex sonic textures.

2. Advances in Performance Technology

a. DJ Equipment and Live Sets

The performance of techno music, often through live DJ sets, has been shaped by continuous R&D in DJ technology, which has had a significant impact on how artists like Carl Cox perform globally.

Turntables, CDJs, and Digital Controllers:
- Technological advancements in turntables (e.g., Technics SL-1200) and CDJs have made it possible for DJs to incorporate both vinyl and digital formats seamlessly. R&D in this space has led to innovations in pitch control, cueing systems, and beat matching, empowering DJs to create unique, seamless mixes.
- Digital controllers like the Pioneer DDJ series and Native Instruments Traktor have further transformed DJ performances, enabling more intuitive and creative interactions with music.
Live Performance Software:
- Software like Ableton Live has been key in allowing techno artists to perform with flexibility. Artists can manipulate samples, synthesize sounds live, and even remix tracks on the spot, creating highly dynamic performances. The development of MIDI controllers and sequencers has allowed performers to integrate multiple elements into a single set, pushing the boundaries of live techno performance.

3. Sound Engineering and Audio Research

a. Audio Processing and Mixing Techniques

As techno evolved, the complexity of its compositions also grew, and R&D in audio engineering played a vital role in enhancing production techniques.

Sound Design:
- Technological research into sound design has enabled producers to create new and unique sonic textures. The use of granular synthesis, frequency modulation, and sampling techniques allows for the creation of abstract sounds that define many subgenres of techno, such as minimal and industrial techno.
Mixing and Mastering Technology:
- Advances in mixing consoles, digital signal processing (DSP), and mastering software have helped ensure that the clarity and punch of techno music are maintained, even in large club environments.
- Tools like Izotope Ozone and Waves Plugins enable producers to achieve industry-standard sound quality, making tracks suitable for both home listening and large-scale public performances.

4. The Influence of R&D on Techno Subgenres

As techno evolved, it branched out into numerous subgenres, each with its distinct sound. R&D has played a key role in driving these innovations. Some notable subgenres of techno include:

Detroit Techno: Early pioneers like Derrick May used the unique characteristics of digital synthesizers and drum machines to create a new, futuristic sound that was rooted in the industrial culture of Detroit.
Minimal Techno: Innovations in looping technology and sparse sound design led to the creation of minimal techno, characterized by simple, repetitive beats and stripped-down soundscapes. Artists like Richie Hawtin (Plastikman) have been at the forefront of this minimalist approach, using evolving software tools to create intricate, yet minimalistic compositions.
Techno in Virtual Reality and Gaming:
- As virtual reality (VR) and augmented reality (AR) technologies have evolved, there has been an increasing interest in using techno in immersive virtual environments. R&D in interactive sound design has made it possible for techno music to become an integral part of the VR experience. Techno beats and soundscapes are often used in VR games, simulations, and social spaces to create engaging atmospheres.
Cyberpunk and Industrial Techno: The darker, grittier side of techno, which features more aggressive, mechanical sounds, has been influenced by industrial music and cyberpunk aesthetics. R&D in synthesizers and sound engineering has led to innovations in distortion effects and noise synthesis, providing the intense, abrasive soundscape typical of industrial techno.

5. Impact of Globalization on Techno’s Research and Development

The spread of techno beyond its roots in Detroit and Europe has fostered a global research culture that continually influences the genre.

Global Techno Communities: The exchange of knowledge between different countries and cultures has accelerated innovation in sound design and performance technology. The growing popularity of techno in Asia, South America, and Africa has driven the global expansion of DJ equipment, production software, and educational resources.
Cross-Genre Innovations: The fusion of techno with other genres such as house, ambient, and electro has led to the development of new sound palettes and production techniques, influenced by artists from various cultural backgrounds.

6. Research in Cultural and Social Impact

a. The Role of Techno in Shaping Cultural Movements

The R&D of techno music isn’t just technological but also cultural. Research into club culture, social movements, and youth trends has shown that techno has become a medium of expression, particularly within LGBTQIA+ communities, as well as in rave culture.

Techno’s role in shaping youth culture and social movements, from Berlin’s techno scene to the warehouse parties in London, highlights the social aspects of R&D that connect technology with human experience.

b. Psychological Research on Techno and Brainwaves

Studies into psychoacoustics and the impact of music on brainwaves have examined how techno’s repetitive beats and basslines can affect mood regulation, focus, and emotional responses. This research plays a critical role in understanding how music influences not just listeners’ emotions but also their cognitive performance.

Conclusion

The research and development of techno music have spanned a broad range of technological, cultural, and social domains. Artists like Carl Cox and Derrick May have been instrumental in pushing forward innovations in sound design, production techniques, and performance technologies. From the early days of drum machines and synthesizers to the cutting-edge software and live performance tools of today, R&D in techno continues to shape the genre’s evolution. Additionally, the globalization of techno music has spurred innovation in diverse communities, while the genre’s cultural significance provides new avenues for exploration in both artistic expression and scientific inquiry.

COURTESY : Andris Žiganovs

References

^ Gray, Carmen (29 May 2019). “At This Techno Club, the Party Is Political”. The New York Times. Archived from the original on 25 March 2022. Retrieved 28 February 2020.

^ Jump up to:^a ^b Carpenter, Susan (6 August 2002). “Electro-clash builds on ’80s techno beat”. The Spectator. Archived from the original on 5 November 2012. Retrieved 25 July 2012.

^ According to Butler (2006:33) use of the term EDM “has become increasingly common among fans in recent years. During the 1980s, the most common catchall term for EDM was house music, while techno became more prevalent during the first half of the 1990s. As EDM has become more diverse, however, these terms have come to refer to specific genres. Another word, electronica, has been widely used in mainstream journalism since 1996, but most fans view this term with suspicion as a marketing label devised by the music industry”.

^ Butler, M. (2006). Unlocking the groove: rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, page 78. “…Drawing on two of the most commonly used terms employed in this discourse, I will describe these categories as ‘breakbeat-driven” and ‘four-on-the-floor.’… The constant stream of steady bass-drum quarter notes that results is the distinguishing feature of four-on-the-floor genres, and the term continues to be used within EDM … The primary genres within this category are techno, house, and trance.”

Brewster, B. & Broughton, F. (2014). Last night a DJ saved my life: the history of the disc jockey. New York: Grove Press, Chapter 7, paragraph 48 (EPUB.“‘No UFOs’ was a dark challenge to the dancefloor built from growing layers of robotic bass, dissonant melody lines and barks of disembodied voices. It was music he’d originally intended for Cybotron, and in its theme of government control it continued Cybotron’s doomy social commentary, but was noticeably faster-paced, with the electro breakbeat replaced by an industrial four-to-the-floor rhythm. This was the sound of Detroit’s future.

Julien, O. & Levaux, C. (2018). Over and over: exploring repetition in popular music. New York, NY: Bloomsbury Academic, page 76.“Most techno dance music is characterized by a post-disco, house-music-inflected, rhythm that is known as “four-on-the-floor”: in reference to the pulse that is explicitly emphasized by a kick drum on each beat (regular like the piston of a mechanical machine), while the snare is heard on the second and fourth beats, and an open hi-hat sound provides a sense of pull and push in between the beats. Music styles that fall within the rhythmic realm of the disco-continuum include not only Chicago house music and Detroit techno, but also hi-NRG and trance.”

Webber, S. (2008). DJ skills: the essential guide to mixing and scratching. Oxford: Focal, page 253.“A lot of dance music features what’s called four on the floor, which means that the bass drum (also called the kick drum) Is playing quarter notes In ⁴
₄ time. While four on the floor is common in most genres derived from house and techno, it is far from new.”

Demers, J. (2010). Listening through the noise : the aesthetics of experimental electronic music. Oxford New York: Oxford University Press, page 97.“These newest subgenres drew listeners in part because they provided a respite from relent less dancing but also because they fleshed out the sparseness of straight-ahead techno and house. In particular, dub techno replaced EDM’s mechanization with a way of muffling the sense of time’s passage, despite the persistence of the four-on-the-floor beat.”

^ Jump up to:^a ^b Brewster 2006:354

^ Jump up to:^a ^b ^c ^d Reynolds 1999:71. Detroit’s music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the Belleville Three decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit techno as a distinct genre.

^ Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4 ed.). Backbeat Books. p. 582. ISBN 0-87930-628-9. Archived from the original on 28 January 2016. Retrieved 26 May 2011. Typically, that birth is traced to the early ’80s and the emaciated inner-city of Detroit, where figures such as Juan Atkins, Derrick May, and Kevin Saunderson, among others, fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space-race electric funk of George Clinton, the optimistic futurism of Alvin Toffler’s The Third Wave (from which the music derived its name), and the emerging electro sound elsewhere being explored by Soul Sonic Force, the Jonzun Crew, Man Parrish, “Pretty” Tony Butler, and LA’s Wrecking Cru.

^ Rietveld 1998:125

^ Sicko 1999:28

^ Having grown up with the latter-day effects of Fordism, the Detroit techno musicians read futurologist Alvin Toffler’s soundbite predictions for change – ‘blip culture’, ‘the intelligent environment’, ‘the infosphere’, ‘de-massification of the media de-massifies our minds’, ‘the techno rebels’, ‘appropriated technologies’ – accorded with some, though not all, of their own intuitions, Toop, D. (1995), Ocean of Sound, Serpent’s Tail, (p. 215).

^ “Detroit techno”. Keyboard Magazine (231). July 1995.

^ “Music Faze – The Electro House, Dubstep, EDM Music Blog: Electronica Genre Guide”. 20 December 2014. Archived from the original on 20 December 2014. Retrieved 22 November 2019.

^ Critzon, Michael (17 September 2001). “Eat Static is bad stuff”. Central Michigan Life. Archived from the original on 24 May 2016. Retrieved 12 August 2007.

^ Hamersly, Michael (23 March 2001). “Electronic Energy”. The Miami Herald: 6G.

^ Schoemer, Karen (10 February 1997). “Electronic Eden”. Newsweek. p. 60. Every Monday night, Natania goes to Koncrete Jungle, a dance party on New York’s lower East Side that plays a hip, relatively new offshoot of dance music known as drum & bass—or, in a more general way, techno, a blanket term that describes music made on computers and electronic gadgets instead of conventional instruments, and performed by deejays instead of old-fashioned bands.

^ Jump up to:^a ^b Kodwo 1998:100

^ Jump up to:^a ^b ^c ^d ^e Trask, Simon (December 1988). “Future Shock”. Music Technology Magazine. Archived from the original on March 15, 2008.

^ Sicko 1999:71

^ Silcott, M. (1999). Rave America: New school dancescapes. Toronto, ON: ECW Press.

^ Jump up to:^a ^b Brewster 2006:349

^ “Derrick May on the roots of techno at RBMA Bass Camp Japan 2010”. Red Bull Music Academy. YouTube. 20 September 2010. Archived from the original on 21 December 2021. Retrieved 23 July 2012.

^ Sicko 1999:49

^ Schaub, Christoph (October 2009). “Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics”. Archived from the original on 2018-12-29. Retrieved 2019-08-04.

^ “Techno music pulses in Detroit”. CNN. 13 February 2003. Archived from the original on 12 October 2007. Retrieved 11 August 2007.

^ Arnold, Jacob (17 October 1999). “A Brief History of Techno”. Gridface. Archived from the original on 6 November 2013. Retrieved 9 December 2005.

^ Shapiro, Peter (2000). Modulations: A History of Electronic Music, Throbbing Words on Sound. Caipirinha Productions, Inc. pp. 108–121. ISBN 189102406X.

^ Brewster 2006:350

^ Reynolds 1999:16–17.

^ Sicko 1999:56–58

^ Snobs, Brats, Ciabattino, Rafael, and Charivari are mentioned in Generation Ecstasy (Reynolds 1999:15); Gables and Charivari are mentioned in Techno Rebels (Sicko 1999:35,51–52). Citations still needed for Comrades, Hardwear, Rumours, and Weekends.

^ Sicko 1999:33–42,54–59

^ Dr. Rebekah Farrugia paraphrasing Derrick May in a review of High Tech Soul: The Creation of Techno Music (Directed by Gary Bredow. Plexifilm DVD PLX-029, 2006). Published in Journal of the Society for American Music (2008) Volume 2, Number 2, pp. 291–293.

^ Keyboard Magazine Vol. 21, No.7 (issue #231, July 1995).

^ Sicko 1999:74

^ Cosgrove 1988b. Juan’s first group Cybotron released several records at the height of the electro-funk boom in the early ’80s, the most successful being a progressive homage to the city of Detroit, simply entitled ‘Techno City’.

^ Sicko 1999:75. Adding to the impact of Enter, the single “Clear” made a huge splash and became Cybotron’s biggest hit, especially after it was remixed by Jose “Animal” Diaz. “Clear” climbed the charts in Dallas, Houston, and Miami, and spent nine weeks on the Billboard Top Black Singles chart (as it was called then) in fall 1983, peaking at No. 52. “Clear” was a success.

^ “First academic conference on techno music and its African American origins”. Archived from the original on 28 December 2019. Retrieved 8 October 2019.

^ Cosgrove 1988b. “At the time, [Atkins] believed [“Techno City”] was a unique and adventurous piece of synthesizer funk, more in tune with Germany than the rest of black America, but on a dispiriting visit to New York, Juan heard Afrika Bambaataa’s ‘Planet Rock’ and realized that his vision of a spartan electronic dance sound had been upstaged. He returned to Detroit and renewed his friendship with two younger students from Belleville High, Kevin Saunderson and Derrick May, and quietly over the next few years the three of them became the creative backbone of Detroit Techno. “Techno City” was released in 1984. Sicko 1999:73 clarifies Atkins was in New York in 1982, trying to get Cybotron’s “Cosmic Cars” into the hands of radio DJs, when he first heard “Planet Rock”; so “Cosmic Cars”, not “Techno City”, is the unique and adventurous piece of synthesizer funk.

^ Sicko 1999:76

^ Sicko 2010:48–49

^ Butler 2006:43

^ Nelson 2001:154

^ Interview with Atkins and Mike Banks. Cox, T. (2008). “Model 500:Remake/remodel”. Resident Advisor. Archived from the original on 2024-05-24. Retrieved 2008-06-11. In 1985 Juan Atkins released the first record on his fledgling label Metroplex, ‘No UFO’s’, now widely regarded as Year Zero of the techno movement.

^ Interview. Osselaer, John (30 June 2000). “Alan Oldham”. Spannered. Archived from the original on Apr 11, 2023. What do you consider to be the most important turning points in the history of Detroit techno?” “The release of Model 500 No UFOs.

^ Sicko 1999:77–78

^ Jump up to:^a ^b McCollum, Brian (22 May 2002). Detroit Electronic Music Festival salutes Chicago connection. Detroit Free Press. Archived from the original on 18 December 2008. Retrieved 4 April 2008.

^ Harrison, Andrew (July 1992). “Derrick May”. Select. London. pp. 80–83. “RIR singles like ‘Strings of Life’…are among the few classics in the debased world of techno”

^ “Strings of Life” appears on compilations titled The Real Classics of Chicago House 2 Archived 2008-04-30 at the Wayback Machine (2003), Techno Muzik Classics Archived 2008-03-07 at the Wayback Machine (1999), House Classics Vol. One Archived 2008-02-26 at the Wayback Machine (1997), 100% House Classics Vol. 1 Archived 2008-02-25 at the Wayback Machine (1995), Classic House 2 Archived 2008-02-27 at the Wayback Machine (1994), Best of House Music Vol. 3 Archived 2008-01-08 at the Wayback Machine (1990), Best of Techno Vol. 4 Archived 2007-11-22 at the Wayback Machine (1994), House Nation – Classic House Anthems Vol. 1 Archived 2007-12-24 at the Wayback Machine (1994), and numerous other compilations Archived 2009-01-26 at the Wayback Machine with the words “techno” or “house” in their titles.

^ Lawrence, Tim (14 June 2005). “Acid? Can You Jack? (Soul Jazz liner notes)”. Archived from the original on 21 March 2008. Retrieved 3 April 2008.

^ Brewster 2006:353

^ Jump up to:^a ^b Rietveld 1998:40–50

^ Jump up to:^a ^b Cosgrove 1988a. [Says Juan Atkins, ] “Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it. As the price of sequencers and synthesizers has dropped, so the experimentation has become more intense. Basically, we’re tired of hearing about being in love or falling out, tired of the R&B system, so a new progressive sound has emerged. We call it techno!”

^ Jump up to:^a ^b ^c Cosgrove 1988a. Although the Detroit dance music has been casually lumped in with the jack virus of Chicago house, the young techno producers of the Seventh City claim to have their own sound, music that goes ‘beyond the beat’, creating a hybrid of post-punk, funkadelia and electro-disco…a mesmerizing underground of new dance which blends European industrial pop with black American garage funk…If the techno scene worships any gods, they are a pretty deranged deity, according to Derrick May. “The music is just like Detroit, a complete mistake. It’s like George Clinton and Kraftwerk stuck in an elevator.” …And strange as it may seem, the techno scene looked to Europe, to Heaven 17, Depeche Mode and the Human League for its inspiration. …[Says an Underground Resistance-related group] “Techno is all about simplicity. We don’t want to compete with Jimmy Jam and Terry Lewis. Modern R&B has too many rules: big snare sounds, big bass and even bigger studio bills.” Techno is probably the first form of contemporary black music which categorically breaks with the old heritage of soul music. Unlike Chicago House, which has a lingering obsession with seventies Philly, and unlike New York Hip Hop with its deconstructive attack on James Brown’s back catalogue, Detroit Techno refutes the past. It may have a special place for Parliament and Pete Shelley, but it prefers tomorrow’s technology to yesterday’s heroes. Techno is a post-soul sound…For the young black underground in Detroit, emotion crumbles at the feet of technology. …Despite Detroit’s rich musical history, the young techno stars have little time for the golden era of Motown. Juan Atkins of Model 500 is convinced there is little to be gained from the motor-city legacy… “Say what you like about our music,” says Blake Baxter, “but don’t call us the new Motown…we’re the second coming.”

^ Jump up to:^a ^b ^c Cosgrove 1988b. [Derrick May] sees the music as post-soul and believes it marks a deliberate break with previous traditions of black American music. “The music is just like Detroit” he claims, “a complete mistake, it’s like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company.”

^ Rietveld 1998:124–127

^ Rietveld 1998:127

^ Atkins, Juan (22 May 1992). “Juan Atkins”. Dance Music Report. 15 (9): 19. ISSN 0883-1122.

^ Unterberger R., Hicks S., Dempsey J, (1999). Music USA: The Rough Guide, Rough Guides Ltd; illustrated edition.(ISBN 9781858284217)

^ “Interview: Derrick May – The Secret of Techno”. Mixmag. 1997. Archived from the original on 14 February 2004. Retrieved 25 July 2012.

^ Fikentscher (2000:5), in discussing the definition of underground dance music as it relates to post-disco music in America, states that: “The prefix ‘underground’ does not merely serve to explain that the associated type of music – and its cultural context – are familiar only to a small number of informed persons. Underground also points to the sociological function of the music, framing it as one type of music that in order to have meaning and continuity is kept away, to large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral and aesthetic codes and values.” Fikentscher, K. (2000), You Better Work!: Underground Dance Music in New York, Wesleyan University Press, Hanover, NH.

^ Rietveld 1998:54–59

^ Brewster 2006:398–443

^ Brewster 2006:419. I was on a mission because most people hated house music and it was all rare groove and hip hop…I’d play Strings of Life at the Mud Club and clear the floor. Three weeks later you could see pockets of people come onto the floor, dancing to it and going crazy – and this was without ecstasy – Mark Moore commenting on the initially slow response to House music in 1987.

^ Cosgrove 1988a. Although it can now be heard in Detroit’s leading clubs, the local area has shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World (New York), The Hacienda (Manchester), Rock City (Nottingham) and Downbeat (Leeds) where the techno sound has found most support. Ironically, the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its name with one of Britain’s oldest new romantic groups.

^ Jump up to:^a ^b ^c Sicko 1999:98

^ “Various – Techno! The New Dance Sound Of Detroit (Vinyl, LP) at Discogs”. discogs.com. Archived from the original on 27 August 2019. Retrieved 13 August 2016.

^ Chin, Brian (March 1990). House Music All Night Long – Best of House Music Vol. 3 (liner notes). Profile Records, Inc. Detroit’s “techno” … and many more stylistic outgrowths have occurred since the word “house” gained national currency in 1985.

^ Jump up to:^a ^b Bishop, Marlon; Glasspiegel, Wills (14 June 2011). “Juan Atkins [interview for Afropop Worldwide]”. World Music Productions. Archived from the original on 23 June 2011. Retrieved 17 June 2011.

^ Savage, Jon (1993). “Machine Soul: A History Of Techno”. The Village Voice. Archived from the original on 2008-12-19. Retrieved 2008-07-22. “The U.K. likes discovering trends,” Rushton says. “Because of the way that the media works, dance culture happens very quickly. It’s not hard to hype something up. …When the first techno records came in, the early Model 500, Reese, and Derrick May material, I wanted to follow up the Detroit connection. I took a flyer and called up Transmat; I got Derrick May and we started to release his records in England. …Derrick came over with a bag of tapes, some of which didn’t have any name: tracks which are now classics, like ‘Sinister’ and ‘Strings of Life.’ Derrick then introduced us to Kevin Saunderson, and we quickly realized that there was a cohesive sound of these records, and that we could do a really good compilation album. We got backing from Virgin Records and flew to Detroit. We met Derrick, Kevin, and Juan and went out to dinner, trying to think of a name. At the time, everything was house, house house. We thought of Motor City House Music, that kind of thing, but Derrick, Kevin, and Juan kept on using the word techno. They had it in their heads without articulating it; it was already part of their language.”

^ Jump up to:^a ^b Sicko 2010:118–120

^ Sicko 2010:71

^ Jump up to:^a ^b “DJ Derek May Profile”. Fantazia Rave Archive. Archived from the original on 29 September 2011. Retrieved 1 October 2009.

^ Sicko 1999:98,101

^ Sicko 1999:100,102

^ Jump up to:^a ^b Sicko 1999:95–120

^ Sicko 1999:102. Once Rushton and Atkins set techno apart with the Techno! compilation, the music took off on its own course, no longer parallel to the Windy City’s progeny. And as the 1980s came to a close, the difference between techno and house music became increasingly pronounced, with techno’s instrumentation growing more and more adventurous.

^ Jump up to:^a ^b ^c Sicko 1999:92–94

^ Jump up to:^a ^b Horst, Dirk (1974). Synthiepop –Die gefühlvolle Kälte: Geschichten des Synthiepop [Synthiepop – The soulful cold: Stories of Synthiepop] (in German).

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^ Jump up to:^a ^b Brewster 2006:361

^ Henkel, O.; Wolff, K. (1996) Berlin Underground: Techno und Hiphop; Zwischen Mythos und Ausverkauf, Berlin: FAB Verlag, (pp. 81–83).

^ Reynolds 1999:112

^ Sicko 1999:145

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^ Reynolds 1999:110

^ Fischer, Marc; von Uslar, Moritz; Kracht, Christian; Roshani, Anuschka; Hüetlin, Thomas; Jardine, Anja (14 July 1996). “Der pure Sex. Nur besser” [The pure sex. Only better.]. Der Spiegel (in German). Archived from the original on 17 December 2022. Retrieved 17 December 2022.

^ Simon Reynolds, in an interview with former Mille Plateaux label boss Achim Szepanski, for Wire Magazine. Reynolds, S. (1996), Low end theory, The Wire, No. 146, 4/96.

^ “Youth: Love and Cabbage”. Der Spiegel (in German). 26 August 1996. Archived from the original on 26 February 2017. Retrieved 17 December 2022.

^ Reynolds 1999:131. Moby’s track “Go!”, a work featuring a sample from the Twin Peaks opening theme, entered the top 20 of UK Charts in late 1991.

^ Reynolds 1999:219–222. Presenting themselves as a sort of techno Public Enemy, Underground Resistance were dedicated to ‘fighting the power’ not just through rhetoric but through fostering their own autonomy.

^ Jump up to:^a ^b Sicko 1999:80

^ Price, Emmett George, ed. (2010), “Techno”, Encyclopedia of African American Music, vol. 3, Santa Barbara, CA: ABC-CLIO, p. 942, ISBN 978-0313341991, archived from the original on 24 May 2024, retrieved 6 July 2013

^ Reynolds 1999:219

^ Sicko 1999:121–160

^ Jump up to:^a ^b Sicko 1999:161–184

^ Jump up to:^a ^b ^c Reynolds 2006:228–229

^ Reynolds 1999:215

^ Sicko 2010:181

^ Jump up to:^a ^b Shallcross, Mike (July 1997). “From Detroit To Deep Space”. The Wire. No. 161. p. 21.

^ “Resident Advisor: Sub Club”. Resident Advisor. 2 March 2018. Archived from the original on 28 March 2018. Retrieved 2 March 2018.

^ “DMC World – Laurence Malice”. tntmagazine.com. 2 March 2018. Archived from the original on 5 November 2017. Retrieved 2 March 2018.

^ Tresor II: Berlin & Detroit – A Techno Alliance Archived 2008-12-20 at the Wayback Machine album details at Discogs

^ Jump up to:^a ^b Brewster, Bill (June 22, 2017). “I feel love: Donna Summer and Giorgio Moroder created the template for dance music as we know it”. Mixmag. Archived from the original on June 22, 2017. Retrieved May 26, 2022.

^ Sicko 1999:199–200

^ Mike Banks interview Archived 2012-09-08 at the Wayback Machine, The Wire, Issue #285 (November ’07)

^ Osselaer, John (1 February 2001). “Robert Hood interview”. Overload Media/Spannered. Archived from the original on 19 February 2023. Retrieved 2 December 2011.

^ Sicko 1999

^ Rubin, Mike (30 September 2001). “Techno Dances With Jazz”. New York Times. Archived from the original on 24 May 2013. Retrieved 2 December 2011. “Electronic producers of all stripes are now inspired by a broader jazz palette, whether as fodder for samples, as part of the search for rhythmic diversity, or as a reference point for their own artistic aspirations toward a cerebral sophistication removed from the sweat of the dance floor.” The article provides, as examples, the music of Kirk Degiorgio, Matthew Herbert, Spring Heel Jack, Tom Jenkinson (Squarepusher), Jason Swinscoe (Cinematic Orchestra) and Innerzone Orchestra (Carl Craig with ex-Sun Ra/James Carter group members, et al.).

^ Sicko 1999:198

^ Gerald Simpson (A Guy Called Gerald) maintains that “Pacific State” was intended for a John Peel session exclusively, but 808 State’s Graham Massey and Martin Price added additional elements by drawing upon Massey’s collection of exotic jazz records for inspiration. This led to the inclusion of a distinctive saxophone solo. Massey recalls that: We were trying to do something in the vein of Marshall Jefferson‘s ‘Open Your Eyes’…That track was happening everywhere. The production was released as a white label in May 1989 and later issued on the mini-album Quadrastate at the end of July that year, just as the second Summer of Love was flowering. Massey remembers taking the white label to Mike Pickering, Graeme Park, and Jon Da Silva, and notes that it rose through the ranks to become the last tune of the night. Lawrence, T (2006), Discotheque: Haçienda, sleeve notes for album release of the same name, retrieved from the authors website Archived 15 June 2006 at the Wayback Machine

^ Butler 2006:114. Graham Massey has discussed the use of unusual meters in 808 State’s music commenting online on 18 June 2004, that: I always thought Cobra Bora could have stood a chance. It was sometimes played at Hot Night at the Hacienda despite its funny time signature (the feel of the track was created by combining parts in ⁶
₈ time with others in ⁴
₄).

^ Jump up to:^a ^b Kodwo 1998:127

^ “Galaxy 2 Galaxy – A Hi Tech Jazz Compilation”. Submerge. Archived from the original on 5 July 2008. Retrieved 21 July 2008. “Galaxy 2 Galaxy is a band that was conceptualized with the first hitech Jazz record produced by UR in 1986/87 and later released in 1990 which was Nation 2 Nation (UR-005). Jeff Mills and Mike Banks had visions of Jazz music and musicians operating on the same “man machine” doctrine dropped on them from Kraftwerk. Early experiments with synthesizers and jazz by artists like Herbie Hancock, Stevie Wonder, Weather Report, Return to Forever, Larry Heard and Lenny White’s Astral Pirates also pointed them in this direction. UR went on to produce and further innovate this form of music which was coined ‘Hitech Jazz’ by fans after the historic 1993 release of UR’s Galaxy 2 Galaxy (UR-025) album which included the underground UR smash titled ‘Hitech Jazz’.”

^ “Dave Angel: Background Overview at Discogs”. 13 February 2003. Archived from the original on 5 September 2007. Retrieved 11 August 2007.

^ Angelic Upstart Archived 28 April 2008 at the Wayback Machine: Mixmag interview with Dave Angel detailing his interest in jazz. Retrieved from Techno.de Archived 2024-05-24 at the Wayback Machine

^ Sicko 2010:138–139

^ Brewster 2006:364

^ Reynolds 1999:183

^ Reynolds 1999:182

^ Anker M., Herrington T., Young R. (1995), New Complexity Techno Archived 2008-01-01 at the Wayback Machine, The Wire, Issue #131 (January ’95)

^ Track listing for the Warp Records 1992 compilation Artificial Intelligence Archived 2008-02-24 at the Wayback Machine

^ Birke S. (2007), “Label Profile: Warp Records”, The Independent (UK), Music Magazine (supplement), newspaper article published February 11, 2007

^ “Of all the terms devised for contemporary non-academic electronic music (the sense intended here), ‘electronica’ is one of the most loaded and controversial. While on the one hand it does seem the most convenient catch-all phrase, under any sort of scrutiny it begins to implode. In its original 1992–93 sense it was largely coterminous with the more explicitly elitist ‘intelligent techno’, a term used to establish distance from and imply distaste for, all other more dancefloor-oriented types of techno, ignoring the fact that many of its practitioners such as Richard James (Aphex Twin) were as adept at brutal dancefloor tracks as what its detractors present as self-indulgent ambient ‘noodling'”. Blake, Andrew, Living Through Pop, Routledge, 1999. p 155.

^ Reynolds 1999:181

^ Reynolds 1999:163. The traveling lifestyle began in the early seventies, as convoys of hippies spent the summer wandering from site to site on the free festival circuit. Gradually, these proto-crusty remnants of the original counterculture built up a neomedieval economy based on crafts, alternative medicine, and entertainment…In the mid-eighties, as squatting became a less viable option and the government mounted a clampdown on welfare claimants, many urban crusties tired of the squalor of settled life and took to the roving lifestyle.

^ Jump up to:^a ^b ^c ^d St. John 2001:100–101

^ “Public Order: Collective Trespass or Nuisance on Land – Powers in relation to raves”. Criminal Justice and Public Order Act 1994. Her Majesty’s Stationery Office. 1994. Archived from the original on 4 January 2006. Retrieved 17 January 2006.

^ Bush, Calvin, Techno – The Final Frontier?, Muzik, Issue No.4, September 1995, p.48-50

^ Cox 2004:414. Any form of electronica genealogically related to Techno but departing from it in one way or another.

^ Loubet E.& Couroux M., Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere, Computer Music Journal, Vol. 24, No. 4. (Winter, 2000), pp. 19–32.

^ Ross, Andrew; Lysloff, René; Gay, Leslie (2003). Music and Technoculture. Wesleyan University Press. pp. 185–186. ISBN 0-8195-6514-8.

^ Chaplin, Julia & Michel, Sia. Fire Starters Archived 2023-04-03 at the Wayback Machine, Spin Magazine, page 40, March 1997, Spin Media LLC.

^ Guiccione, Bob Jr., Live to Tell, Archived 2023-04-11 at the Wayback Machine Spin Magazine, page 95, January 1996, Spin Media LLC.

^ Cinquemani, Sal. “Miss E…So Addictive”. Slant Magazine. Archived from the original on 2 January 2010. Retrieved 21 December 2009.

^ Gorell, Robert. “Permanent record: Jeff Mills talks Detroit techno and the exhibit that hopes to explain it”. Metro Times. Archived from the original on 29 September 2007. Retrieved 11 August 2007.

^ “Ford Unveils New Limited Street Edition Focus” (Press release). Ford Motors. 6 October 2000. Archived from the original on 11 July 2011. Retrieved 10 January 2009. “Detroit Techno is a music style that is recognized by young people around the world. We know that music is one of the biggest passions for our young car buyers, so it made sense for us to incorporate a unique music element in our campaign.” Focus and Street Edition will feature an image exclaiming “Detroit Techno” on posters and in print ads.

^ “New Ford Focus Commercial Features Ground Breaking Juan Atkins’ Techno Hit” (Press release). 11 August 2000. Archived from the original on 24 May 2024. Retrieved 10 January 2009.

^ Jump up to:^a ^b McGarvey, Sterling. “Derrick May”. Lunar Magazine. Archived from the original on 2016-03-04. Retrieved 2008-04-03.

^ Baishya, Kopinjol (17 October 2005). “Techno as it should be: Juan Atkins and minimal techno”. Chicago Flame. Archived from the original on 8 July 2011.

^ 79年8月の「ロックマガジン」の増刊号の「MODERN MUSIC」

^ “【7EP】YMO – the Spirit of Techno 過激な淑女カラオケ”. Archived from the original on 2023-03-25. Retrieved 2023-03-25.

^ Henke, James (12 June 1980). “Yellow Magic Orchestra”. Rolling Stone. Archived from the original on 29 August 2019. Retrieved 22 November 2019.

^ [1] ^{[dead link]}

^ Sicko, Dan (1 July 1994). “The Roots of Techno”. Wired. Archived from the original on 23 June 2020. Retrieved 22 November 2019.

^ Sicko 1999:45–49

^ Brewster 2006:343–346

^ Jump up to:^a ^b Reynolds 1999:190

^ Gillen, Brendan (21 November 2001). “Name that number: The history of Detroit’s first techno record”. Metro Times Detroit. Archived from the original on 21 December 2008. Retrieved 10 January 2009.

^ Krettenauer, Thomas (2017). “Hit Men: Giorgio Moroder, Frank Farian and the eurodisco sound of the 1970s/80s”. In Ahlers, Michael; Jacke, Christoph (eds.). Perspectives on German Popular Music. London: Routledge. ISBN 978-1-4724-7962-4. Archived from the original on 2024-05-24. Retrieved 2022-05-26.

^ “Donna Summer: I Feel Love” (in German). Zentrum für Populäre Kultur und Musik. 8 May 2017. Archived from the original on 24 May 2022. Retrieved May 26, 2022.

^ Sicko 1999:48

^ Keyboard, Volume 19, Issues 7–12. GPI Publications. 1993. p. 28. Retrieved 4 June 2011.

^ Stenshoel, Peter (18 May 2011). “Peter Stenshoel’s Album of the Week: What, Me Worry? by Yukihiro Takahashi”. KPCC. Archived from the original on 5 September 2020. Retrieved 3 October 2019.

^ “Raymond Scott’s Manhattan Research”. 21 February 2006. Archived from the original on 13 August 2007. Retrieved 11 August 2007. Extensive collection of review excerpts hosted on the Raymond Scott website.

^ Wrench, Nigel (18 July 2008). “Lost tapes of the Dr Who composer”. BBC News. Archived from the original on 1 June 2020. Retrieved 10 January 2009.

^ Butler 2006:12–13,94

^ Fikentscher, K. (1991), The Decline of Functional Harmony in Contemporary Dance Music, Paper presented at the 6th International Conference On Popular Music Studies, Berlin, Germany, 15–20 July 1991.

^ Pope, R. (2011), Hooked on an Affect: Detroit Techno and Dystopian Digital Culture, Dancecult: Journal of Electronic Dance Music Culture 2 (1): p. 38

^ Butler 2006:8

^ Butler 2006:208–209,214

^ Butler 2006:94

^ Jump up to:^a ^b System 7 interview with Mark Roland in: Muzik, Issue No.4, September 1995, p.97

^ Keyboard Magazine Vol. 21, No.7 (issue #231), July 1995, 12 Who Count: Juan Atkins.

^ 909 LIVES! Archived 2007-01-27 at the Wayback Machine: Overview of the Roland TR-909 drum machine published by Sound on Sound magazine in November 1995.

^ 808 Statement Archived 2015-06-06 at the Wayback Machine: Overview of the Roland TR-808 drum machine published by Sound on Sound magazine in May 1997.

^ BORN WIBBLY Archived 2015-06-08 at the Wayback Machine Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the original ReBirth RB-338 published by Sound on Sound magazine in August 1997

^ THE COOL OF REBIRTH Archived 2015-06-08 at the Wayback Machine Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the ReBirth RB-338 V2 published by Sound on Sound magazine in November 1998

^ Jim Aikin, Keyboard Magazine, reprinted in Software Synthesizers: The Definitive Guide to Virtual Musical Instruments. Backbeat Books, 2003.

^ “ReBirth: virtual synthesizer and drum machine iPad app – Propellerhead”. Rebirthmuseum.com. Archived from the original on 2010-07-23. Retrieved 2008-07-17.

^ REASONS TO BE CHEERFUL Archived 2005-09-21 at the Wayback Machine Propellerhead Software Reason Virtual Music Studio. Published by Sound on Sound magazine in March 2001

^ Overview of Reason 10 Archived 2016-07-16 at the Wayback Machine hosted at the Propellerhead website.

^ Emmerson, S. (2007), Living Electronic Music, Ashgate, Adlershot, pp. 111–113.

^ Emmerson, S. (2007), pp. 80–81.

^ Emmerson, S. (2007), pp. 115.

^ Collins, N.(2003a), Generative Music and Laptop Performance, Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 67–79.

^ “23rd Annual International Dance Music Awards Nominees & Winners”. Archived from the original on 1 May 2008. Retrieved 14 January 2009. Best Audio Editing Software of the Year – 1st Ableton Live, 4th Reason. Best Audio DJ Software of the Year – Ableton Live.

^ St. John, G.(ed.), FreeNRG: Notes From the Edge of the Dance Floor, Common Ground, Melbourne, 2001, (pp. 93–102).

^ Rietveld, H (1998), Repetitive Beats: Free Parties and the Politics of Contemporary DIY Dance Culture in Britain, in George McKay (ed.), DIY Culture: Party and Protest in Nineties Britain, pp.243–67. London: Verso.

^ Indy Media Archived 2008-03-06 at the Wayback Machine item mentioning DIY resurgence: One year of DIY Culture Archived 2005-12-06 at the Wayback Machine

^ Gillmor, D., Technology feeds grassroots media Archived 2007-09-09 at the Wayback Machine, BBC news report, published Thursday, 9 March 2006, 17:30 GMT.

^ Chadabe, J., Electronic music and life, Organised Sound, 9(1): 3–6, 2004 Cambridge University Press, United Kingdom.

^ Hitzler, Ronald; Pfadenhauer, Michaela; Hillebrandt, Frank; Kneer, Georg; Kraemer, Klaus (1998). “A posttraditional society: Integration and distinction within the techno scene”. Loss of safety? Lifestyles between multi-optionality and scarcity (in German). p. 85. doi:10.1007/978-3-322-83316-7. ISBN 978-3-531-13228-0.

^ Sherburne, Philip (9 May 2007). “The Month In: Techno”. Pitchfork Media. Archived from the original on 24 February 2021. Retrieved 4 July 2007.

^ “The 10 best clubs in Germany that aren’t in Berlin”. Electronic Beats. 30 January 2017. Archived from the original on 17 August 2017. Retrieved 31 August 2017.

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^ DJ Mag (20 December 2017). “Egg London”. djmag.com. Archived from the original on 18 January 2018. Retrieved 27 February 2018.

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