4881:"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
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2057:
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second-hand market! The irony of the situation is that barely a year after its launch, the 909 was being 'chopped out' by hi-tech dealers for around £375, to make way for the then-new TR-707 and TR-727. Prices hit a new low around 1988, when you could often pick up a second-user 909 for under £200—and occasionally even under £100. Musicians all over the country are now garrotting themselves with MIDI leads as they remember that 909 they sneered at for £100—or worse, the one they sold for £50 (did you ever hear the one about the guy who gave away his TB-303 Bassline—now worth anything up to £900 from true loony collectors—because he couldn't sell it?)
2323:
6090:"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 (
3543:"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."
2983:) distinguishes the Detroit strain of techno from other variants. It is a feature that many DJs and producers still use to differentiate their music from commercial forms of techno, the majority of which tend to be devoid of syncopation. Derrick May has summed up the sound as 'Hi-tech Tribalism': something "very spiritual, very bass oriented, and very drum oriented, very percussive. The original techno music was very hi-tech with a very percussive feel... it was extremely, extremely Tribal. It feels like you're in some sort of hi-tech village."
990:
Knuckles started using the 909 at his shows at the
Powerplant. Boss had just brought out their little sampling footpedal, and somebody took one along there. Somebody was on the mic, and they sampled that and played it over the drumtrack pattern. Having got the drum machine and the sampler, they could make their own tunes to play at parties. One thing just led to another, and Chip E used the 909 to make his own record, and from then on, all these DJs in Chicago borrowed that 909 to come out with their own records.
4580:, 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."
5922:(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
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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. ... "Techno is all about simplicity. We don't want to compete with
1299:' disappointment with the poor sales of Rushton's compilation, the record was successful in establishing an identity for techno and was instrumental in creating a platform in Europe for both the music and its producers. Ultimately, the release served to distinguish the Detroit sound from Chicago house and other forms of underground dance music that were emerging during the rave era of the late 1980s and early 1990s, a period during which techno became more adventurous and distinct.
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4710:"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."
1621:
1176:. Acid house party fever escalated in London and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A.M. closing hours, sought refuge in the warehouse party scene that ran all night. To escape the attention of the press and the authorities, this after-hours activity quickly went underground. Within a year, however, up to 10,000 people at a time were attending the first commercially organized mass parties, called
4572:. 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
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3537:"'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.
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3210:: modeled analog synthesizer tones, percussion synthesis, pattern-based sequencing, all integrated in one piece of software". Despite the success of ReBirth RB-338, it was officially taken out of production in September 2005. Propellerhead then made it freely available for download from a website called the "ReBirth Museum". The site also features extensive information about the software's history and development.
1746:. At this time the German popular music charts were riddled with Low Spirit "pop-Tekno" German folk music reinterpretations of tunes such as "Somewhere Over The Rainbow" and "Tears Don't Lie", many of which became hits. At the same time, in Frankfurt, a supposed alternative was a music characterized by Simon Reynolds as "moribund, middlebrow Electro-Trance music, as represented by Frankfurt's own Sven Väth and his
3531:"...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."
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4550:"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!"
1115:
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alongside established Berlin DJs such as Dr. Motte and Tanith. According to Dan Sicko, "Germany's growing scene in the early 1990s was the beginning of techno's decentralization", and "techno began to create its second logical center in Berlin". At this time, the now reunified Berlin also began to regain its position as the musical capital of
Germany.
3555:"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."
6396:"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.
5792:"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
4158:, 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.
2678:. Juan Atkins himself said "In fact, there were a lot of electronic musicians around when Cybotron started, and I think maybe half of them referred to their music as 'techno.' However, the public really wasn't ready for it until about '85 or '86. It just so happened that Detroit was there when people really got into it."
2485:), and Bugged Out (Manchester) were still popular. With techno reaching a state of "creative palsy," and with a disproportionate number of underground dance music enthusiasts more interested in the sounds of rave and jungle, in 1995 the future of the UK techno scene looked uncertain as the market for "pure techno" waned.
2092:-infused sound of original Detroit techno. In response, Hood and others sought to emphasize a single element of the Detroit aesthetic, interpreting techno with "a basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move". Hood explains:
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1809:, an East-Berlin party organizer responsible for the X-tasy Dance Project, were organizing the first large scale rave events in Germany. This development would lead to a permanent move away from the sound associated with Techno-House and toward a hard edged mix of music that came to define Tanith and Wolle's
1092:). It became May's best known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."
2702:
synth-pop in the
Detroit high school party scene from which techno emerged has prompted a number of commentators to try to redefine the origins of techno by incorporating musical precursors to the Detroit sound as part of a wider historical survey of the genre's development. The search for a mythical
2100:
in what we both know as techno. It sounded great from a production point of standpoint, but there was a 'jack' element in the structure. People would complain that there's no funk, no feeling in techno anymore, and the easy escape is to put a vocalist and some piano on top to fill the emotional gap.
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When I started
Metroplex around February or March of '85 and released "No UFO's," I thought I was just going to make my money back on it, but I wound up selling between 10,000 and 15,000 copies. I had no idea that my record would happen in Chicago. Derrick's parents had moved there, and he was making
4567:
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
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eventually became savvy to the mass appeal of techno, noting that "this music was created partly by the pounding clangor of the Motor City's auto factories. It became natural for us to incorporate
Detroit techno into our commercials after we discovered that young people are embracing techno." With a
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which had opened in 1991 for a time was the standard bearer for techno and played host to many of the leading
Detroit producers, some of whom had relocated to Berlin. The club brought new life to the careers of Detroit artists such as Santonio Echols, Eddie Fowlkes and Blake Baxter, who played there
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V1, a software-based electronic music studio, comprising a 14-input automated digital mixer, 99-note polyphonic 'analogue' synth, classic Roland-style drum machine, sample-playback unit, analogue-style step sequencer, loop player, multitrack sequencer, eight effects processors, and over 500 MB
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Once a single loop-based arrangement has been generated, a producer may then focus on developing how the summing of the overdubbed parts will unfold in time, and what the final structure of the piece will be. Some producers achieve this by adding or removing layers of material at appropriate points
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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
738:
Derrick May identified the influence of
Kraftwerk and other European synthesizer music in commenting that "it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty... everything is an ugly mess in Detroit, and so we were attracted
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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
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was reporting that the popularity of the 808 had started to decline, with the rarer TR-909 taking its place as "the dance floor drum machine to use." This is thought to have arisen for a number of reasons: the 909 gives more control over the drum sounds, has better programming and includes MIDI as
2446:
By 1994 there were a number of techno producers in the UK and Europe building on the Detroit sound, but a number of other underground dance music styles were by then vying for attention. Some drew upon the Detroit techno aesthetic, while others fused components of preceding dance music forms. This
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In 1991 UK music journalist Matthew Collin wrote that "Europe may have the scene and the energy, but it's America which supplies the ideological direction...if Belgian techno gives us riffs, German techno the noise, British techno the breakbeats, then Detroit supplies the sheer cerebral depth." By
1183:
The success of house and acid house paved the way for wider acceptance of the Detroit sound, and vice versa: techno was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with London clubs catching up later; but in 1987, it was "Strings of Life" which
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and Kraftwerk are stuck in an elevator with only a sequencer to keep them company." Juan Atkins has stated that it is "music that sounds like technology, and not technology that sounds like music, meaning that most of the music you listen to is made with technology, whether you know it or not. But
989:
Derrick sold Chicago DJ Frankie Knuckles a TR909 drum machine. This was back when the Powerplant was open in Chicago, but before any of the Chicago DJs were making records. They were all into playing Italian imports; 'No UFOs' was the only U.S.-based independent record that they played. So Frankie
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Cosgrove 1988b. "At the time, believed 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
1805:. Tanith distinguished acid-based dance music from the earlier approaches, whether it be DAF or Nitzer Ebb, because the latter was aggressive, he felt that it epitomized "being against something," but of acid house he said, "it's electronic, it's fun it's nice." By Spring 1990, Tanith, along with
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Inspired by Talla's music selection, in the early 80s several young artists from Frankfurt started to experiment on cassette tapes with electronic music coming from the City Music record store, mixing the latest catalogue with additional electronic sounds and pitched BPM. This became known as the
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reported that the 909 was selling for between £900 and £1100 and noted that the 808 was still collectible, but maximum prices had peaked at about £700 to £800. Despite this fascination with retro music technology, according to Derrick May "there is no recipe, there is no keyboard or drum machine
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has remarked that techno was a major force in reestablishing social connections between East and West Germany during the unification period. In the now reunified Berlin, several locations opened near the foundations of the Berlin Wall in the former eastern part of the city from 1991 onwards: the
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until the addition of Atkins' song "Techno Music" prompted reconsideration. Rushton was later quoted as saying he, Atkins, May, and Saunderson came up with the compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they
3683:
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',
1723:
In 1993–94 rave became a mainstream music phenomenon in Germany, seeing with it a return to "melody, New Age elements, insistently kitsch harmonies and timbres". This undermining of the German underground sound lead to the consolidation of a German "rave establishment," spearheaded by the party
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technology, it became possible to create high quality music using little more than a single laptop computer. Using highly configurable software tools artists could also easily tailor their production sound by creating personalized software synthesizers, effects modules, and various composition
853:
During the late 1970s and early 1980s, high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends allowed the young promoters to develop and nurture a local dance music scene. As the local scene grew in popularity, DJs began to band
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finding popular appeal. Also during this period software versions of classic devices, that once existed exclusively in the hardware domain, became available for the first time. These software-based music production tools offered viable and cost-effective alternatives to typical hardware-based
2790:
and European synth-pop productions share with techno a dependence on machine-generated dance rhythms, but such comparisons are not without contention. Efforts to regress further into the past, in search of earlier antecedents, entails a further regression, to the sequenced electronic music of
1326:
It all happened at the right time by mistake, and it didn't last because it wasn't supposed to last. Our careers took off right around the time we had to close, and maybe it was the best thing. I think we were peaking – we were so full of energy and we didn't know who we were or realize our
3165:
There can be few hi-tech instruments which still command a second-hand price only slightly lower than their original selling price 10 years after their launch. Roland's now near-legendary TR-909 is such an example—released in 1984 with a retail price of £999, they now fetch up to £900 on the
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boom in Detroit, it had the effect of inspiring many individuals to take up mixing, Juan Atkins among them. Subsequently, Atkins taught May how to mix records, and in 1981, "Magic Juan", Derrick "Mayday", in conjunction with three other DJ's, one of whom was Eddie "Flashin" Fowlkes, launched
2195:
producers forward. Simon Reynolds suggests that this progression "involved a full-scale retreat from the most radically posthuman and hedonistically functional aspects of rave music toward more traditional ideas about creativity, namely the auteur theory of the solitary genius who humanizes
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magazine, by 1995 the UK techno scene was in decline and dedicated club nights were dwindling. The music had become "too hard, too fast, too male, too drug-oriented, too anally retentive." Despite this, weekly night at clubs such as Final Frontier (London), The Orbit (Leeds), House of God
1875:, Chicago and Orlando, interest in techno was limited. Many Detroit based producers, frustrated by the lack of opportunity in the US, looked to Europe for a future livelihood. This first wave of Detroit expatriates was soon joined by a so-called "second wave" that included Carl Craig,
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production while the 909 found its home in House music and techno. It was "the pioneers of Detroit techno were making the 909 the rhythmic basis of their sound, and setting the stage for the rise of Roland's vintage Rhythm Composer." In November 1995 the UK music technology magazine
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had become perhaps the first DJ in Germany to be worshipped like a rock star. He performed center stage with his fans facing him, and as co-owner of Omen, he is believed to have been the first techno DJ to run his own club. One of the few real alternatives then was The Bruckenkopf in
4745:
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
2238:
it felt like we were leading the market rather than it leading us, the music was aimed at home listening rather than clubs and dance floors: people coming home, off their nuts and having the most interesting part of the night listening to totally tripped out music. The sound fed the
4597:
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
3487:
1631:
Changes were also taking place in Frankfurt during the same period but it did not share the egalitarian approach found in the Berlin party scene. It was instead very much centered around discothèques and existing arrangements with various club owners. In 1988, after the
2284:(1989), Carl Craig's Planet E (1991), Kirk Degiorgio's Applied Rhythmic Technology (1991), Eevo Lute Muzique (1991), General Production Recordings (1991), In 1993, a number of new "intelligent techno"/"electronica" record labels emerged, including New Electronica,
4981:
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
3549:"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."
2649:
in London, England. When Kraftwerk first toured Japan, their music was described as "technopop" by the Japanese press. The Japanese band Yellow Magic Orchestra used the word 'techno' in a number of their works such as the song "Technopolis" (1979), the album
4195:
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.
1813:
parties. According to Wolle it was an "out and out rejection of disco values," instead they created a "sound storm" and encouraged a form of "dance floor socialism," where the DJ was not placed in the middle and you "lose yourself in light and sound."
1076:, but by another journalist a decade later as "soulful grooves" melding the beat-centric styles of Motown with the music technology of the time. May described the sound of techno as something that is "...like Detroit...a complete mistake. It's like
2759:; cited as the first so called "conceptual disco" production and the record from which house, techno, and other underground dance music styles flowed. Yet another example is Yellow Magic Orchestra's work which has been described as "proto-techno"
2703:"first techno record" leads such commentators to consider music from long before the 1988 naming of the genre. Aside from the artists whose music was popular in the Detroit high school scene ("progressive" disco acts such as Giorgio Moroder,
2023:
by Detroit's National Sound Corporation, the main mastering house for the entire Detroit dance music scene. In a sense, popular electronic music had come full circle, returning to Germany, home of a primary influence on the EDM of the 1980s:
1339:" (the Institute never served liquor). The MI, notes Dan Sicko, along with Detroit's early techno pioneers, "helped give life to one of the city's important musical subcultures – one that was slowly growing into an international scene."
994:
In the UK, a club following for house music grew steadily from 1985, with interest sustained by scenes in London, Manchester, Nottingham, and later Sheffield and Leeds. The DJs thought to be responsible for house's early UK success include
4197:"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
1822:
As the techno sound evolved in the late 1980s and early 1990s, it also diverged to such an extent that a wide spectrum of stylistically distinct music was being referred to as techno. This ranged from relatively pop oriented acts such as
3180:
which makes the best techno, or whatever you want to call it. There never has been. It was down to the preferences of a few guys. The 808 was our preference. We were using Yamaha drum machines, different percussion machines, whatever."
1999:, a testament to the influence of the Detroit sound upon the German techno scene and a celebration of a "mutual admiration pact" between the two cities. As the mid-1990s approached, Berlin was becoming a haven for Detroit producers;
3292:
mentality that was once central to dance music culture. In the 00s these advances democratized music creation and lead to a significant increase in the amount of home-produced music available to the general public via the internet.
1772:
s, began as a tongue-in-cheek attempt to emphasize the music's hardness, but by the mid-1990s it came to be associated with a controversial point of view that the music was and perhaps always had been wholly separate from Detroit's
2747:, produced by Giorgio Moroder for Donna Summer in 1976, has been described as a milestone and blueprint for EDM because it was the first to combine repetitive synthesizer loops with a continuous four-on-the-floor bass drum and an
893:
In the early 1980s, Atkins began recording with musical partner Richard Davis (and later with a third member, Jon-5) as Cybotron. This trio released a number of rock and electro-inspired tunes, the most successful of which were
762:
Kevin Saunderson has also acknowledged the influence of Europe but he claims to have been more inspired by the idea of making music with electronic equipment: "I was more infatuated with the idea that I can do this all myself."
850:
themselves as a party crew called Deep Space Soundworks (also referred to as Deep Space). In 1980 or 1981, they met with Mojo and proposed that they provide mixes for his show, which they did end up doing the following year.
3382:
was cited as "possibly the current world capital of techno, much as E-Werk or Tresor were in their respective heydays". In the 2010s, aside from Berlin, Germany continued to have a thriving techno scene with clubs such as
4760:
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.
7684:
644:
had developed. Music journalists and fans of techno are generally selective in their use of the term, so a clear distinction can be made between sometimes related but often qualitatively different styles, such as
2160:'s "Seas of Tranquility" EP (1994) being a case in point, Other notable artists who set about expanding upon the structure of "classic techno" include Dan Curtin, Morgan Geist, Titonton Duvante and Ian O'Brien.
4141:
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
3794:
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,
2080:, a Detroit-based producer and one time member of UR, is largely responsible for ushering in the minimal strain of techno. Hood describes the situation in the early 1990s as one where techno had become too
3149:
By the mid-1990s TR-808 and TR-909 drum machines had already achieved legendary status, a fact reflected in the prices sought for used devices. During the 1980s, the 808 became the staple beat machine in
1780:
At some point tension over "who defines techno" arose between scenes in Frankfurt and Berlin. DJ Tanith has expressed that Techno as a term already existed in Germany but was to a large extent undefined.
6468:
3021:
as one large instrument. The collection of devices found in a typical studio will include units that are capable of producing many different sounds and effects. Studio production equipment is generally
2523:
In attempting to sum up the changes since the heyday of Detroit techno, Derrick May has since revised his famous quote in stating that "Kraftwerk got off on the third floor and now George Clinton's got
739:
to this music. It, like, ignited our imagination!". May has commented that he considered his music a direct continuation of the European synthesizer tradition. He also identified Japanese synth-pop act
731:, and I'd ride around in my car playing it." Regarding his initial impression of Kraftwerk, Atkins notes that they were "clean and precise" relative to the "weird UFO sounds" featured in his seemingly "
5683:
3742:
3202:
review of the RB-338 V2 in November 1998 noted that Rebirth had been called "the ultimate techno software package" and mentions that it was "a considerable software success story of 1997". In America
6078:
2563:, have dabbled with dance music, yet such endeavors have rarely evidenced a genuine understanding or appreciation of techno's origins with the former proclaiming in January 1996 that "Techno=Death".
1785:
has stated that the Frankfurt definition of techno associated with Talla's Technoclub differed from that used in Berlin. Frankfurt's Armin Johnert viewed techno as having its roots in acts such DAF,
1224:
into the lexicon of music journalism in the UK, the music was initially viewed as Detroit's interpretation of Chicago house rather than as a separate genre. The compilation's working title had been
3188:
In the latter half of the 1990s the demand for vintage drum machines and synthesizers motivated a number of software companies to produce computer-based emulators. One of the most notable was the
2424:
event in the Czech Republic that gave rise to several French, German and Dutch sound systems. Many of these groups found audiences easily and were often centered around squats in cities such as
2124:
Some techno has also been influenced by or directly infused with elements of jazz. This led to increased sophistication in the use of both rhythm and harmony in a number of techno productions.
3653:(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.
5796:, 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.).
2276:
Although it is primarily Warp that has been credited with ushering the commercial growth of IDM and electronica, in the early 1990s there were many notable labels associated with the initial
1088:" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987–1988 house music boom (see
919:. Atkins has described earlier synthesizer based acts like Kraftwerk as techno, although many would consider both Kraftwerk's and Juan's Cybotron outputs as electro. Atkins viewed Cybotron's
3106:
Instruments used by the original techno producers based in Detroit, many of which are highly sought after on the retro music technology market, include classic drum machines like the Roland
880:
Of the four individuals responsible for establishing techno as a genre in its own right, Juan Atkins is widely cited as "The Originator". In 1995, the American music technology publication
2007:
even resided there for a time. In the same period, with the assistance of Tresor, Underground Resistance released their X-101/X-102/X103 album series, Juan Atkins collaborated with 3MB's
759:
as an electronic mecca, is considered an "interesting contribution" to the development of Detroit techno, foreshadowing concepts that Atkins and Davis would later explore with Cybotron.
1307:
In mid-1988, developments in the Detroit scene led to the opening of a nightclub called the Music Institute (MI), located at 1315 Broadway in downtown Detroit. The venue was secured by
3649:, 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
2405:
East Coast. In the rest of Europe, due in some part to the inspiration of traveling sound systems from the UK, rave enjoyed a prolonged existence as it continued to expand across the
2230:
the dance scene was changing and we were hearing B-sides that weren't dance but were interesting and fitted into experimental, progressive rock, so we decided to make the compilation
2183:
1992 a number of European producers and labels began to associate rave culture with the corruption and commercialization of the original techno ideal. Following this the notion of an
2156:, a self-described jazz project based on Kraftwerk's "man machine" doctrine. This lead was followed by a number of techno producers in the UK who were influenced by both jazz and UR,
931:" (1982) and considered it to be a superior example of the music he envisioned. Inspired, he resolved to continue experimenting, and he encouraged Saunderson and May to do likewise.
6769:
7283:
Hitzler, Ronald; Pfadenhauer, Michaela; Hillebrandt, Frank; Kneer, Georg; Kraemer, Klaus (1998). "A posttraditional society: Integration and distinction within the techno scene".
6134:
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.
2152:
had made explicit references to the genre, with the tracks "Jazz Is The Teacher" (1993) and "Hi-Tech Jazz" (1993), the latter being part of a larger body of work and group called
6118:
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-
7681:
1252:) that he should be more assertive... and keep making music as well as do the Mayday mix (for the show Street Beat on Detroit's WJLB radio station) and run Transmat records.
7976:– A documentary about Germany's early Techno scene and culture – Label: Sense Music & Media, Berlin, DE; Released: June 2008; Directors: Maren Sextro & Holger Wick.
5353:
3799:, 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.
1847:
label was instrumental in introducing Detroit techno to British audiences. By the early 1990s, the original techno sound had garnered a large underground following in the
1638:
opened, the Frankfurt dance music scene was allegedly dominated by the club's management and they made it difficult for other promoters to get a start. By the early 1990s
3508:
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
1499:
established themselves as the first acid house clubs in temporarily used, dilapidated industrial halls, marking the beginning of the so-called "hall culture" in Germany.
3198:
and originally released in May 1997. Version one of the software featured two TB-303s and a TR-808 only, but the release of version two saw the inclusion of a TR-909. A
2555:
being two better-known examples—the genre has significantly affected many other areas of music. In an effort to appear relevant, many established artists, for example
2470:
scene diminished, each new faction having its own particular attitude and vision of how dance music (or in certain cases, non-dance music) should evolve. According to
1581:'s paramilitary posturing. In the same period, German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into
970:
The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and influenced by house in particular. May's 1987 hit "
5901:
5779:
3030:, enabling the producer to combine in one arrangement the sequenced output of many devices. A typical approach to using this type of technology compositionally is to
2658:
EP, "The Spirit of Techno" (1983). When Yellow Magic Orchestra toured the United States in 1980, they described their own music as technopop, and were written up in
6295:
3516:
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,
3218:
of synthesizer patches and samples. With this release Propellerhead were credited with "creating a buzz that only happens when a product has really tapped into the
3535:
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.
1930:
These developments in American-produced techno between 1990 and 1992 fueled the expansion and eventual divergence of techno in Europe, particularly in Germany. In
490:
practices found in other forms of music are often ignored in favor of repetitive sequences of notes. More generally the creation of techno is heavily dependent on
2064:
As techno continued to transmute a number of Detroit producers began to question the trajectory the music was taking. One response came in the form of so-called
6556:
6476:
3750:
1691:, Chicago House, and synth-pop such as Kraftwerk and Yello and it was out of this blend of styles that the Frankfurt trance scene is believed to have emerged.
837:
didn't really grab hold in Detroit in '79. Mojo used to play a lot of funk just to be different from all the other stations that had gone over to disco. When '
5675:
1157:
opened the clubs Shoom and Spectrum, respectively. Both night spots quickly became synonymous with acid house, and it was during this period that the use of
981:
producers, seeking to distance house music from disco, emulated the techno sound. Atkins also suggests that the Chicago house sound developed as a result of
951:
regular trips between Detroit and Chicago. So when I came out with 'No UFO's,' he took copies out to Chicago and gave them to some DJs, and it just happened.
6659:
Krettenauer, Thomas (2017). "Hit Men: Giorgio Moroder, Frank Farian and the eurodisco sound of the 1970s/80s". In Ahlers, Michael; Jacke, Christoph (eds.).
6269:
5234:
3529:
Butler, M. (2006). Unlocking the groove : rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, page 78.
3520:, 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".
6535:
7443:
3553:
Demers, J. (2010). Listening through the noise : the aesthetics of experimental electronic music. Oxford New York: Oxford University Press, page 97.
2723:), they point to examples such as "Sharevari" (1981) by A Number of Names, danceable selections from Kraftwerk (1977–83), the earliest compositions by
2616:
marketing campaign targeting under-35s, Ford used "Detroit Techno" as a print ad slogan and chose Model 500's "No UFO's" to underpin its November 2000
1453:, Lars Müller and Martin Schopf. Some of the work done by Andreas Tomalla, Markus Nikolai and Thomas Franzmann evolved in collaborative work under the
1417:, with the word used as shorthand for technologically created dance music. Talla's categorization became a point of reference for other DJs, including
6412:
2795:, whose "The Rhythm Modulator," "The Bass-Line Generator," and "IBM Probe" are considered early examples of techno-like music. In a review of Scott's
2370:. The high point of this free party period came in May 1992 when with less than 24 hours notice and little publicity more than 35,000 gathered at the
8003:, an exhibition held at Louisiana Museum of Modern Art, Denmark, between 15 May and 8 September 1996); Director: Franz A. Pandal; Length: 52 minutes.
7998:
3592:
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.
1839:(1990) were credited with taking techno "in dozens of new directions at once and having the kind of expansive impact John Coltrane had on Jazz". The
5918:"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
4270:
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.
7601:
6991:
1962:, releasing "tough, metallic tracks...with harsh, discordant synth lines that sounded like distressed Hoovers," according to one music journalist.
1750:
label." Illegal raves, however, regained importance in the German techno scene as a countermovement to the commercial mass raves in the mid-1990s.
1045:
The early producers, enabled by the increasing affordability of sequencers and synthesizers, merged a European synth-pop aesthetic with aspects of
10378:, but is a unique edition significantly rewritten for the North American market. Its copyright date is 1998, but it was first published July 1999.
6998:
Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the original ReBirth RB-338 published by
6968:
6945:
2811:, which laid the foundation for all electro-pop from disco to techno." In 2008, a tape from the mid-to-late 1960s by the original composer of the
2346:. The new agers offered a readymade network of countryside festivals that were hastily adopted by squatters and ravers alike. Prominent among the
6173:
7357:
2902:(though relatively limited) and the employment of conventional musical frameworks is more widely found in commercial techno styles, for example
2489:
described the sound of UK techno at this time as "dutiful grovelling at the altar of American techno with a total unwillingness to compromise."
2191:
aesthetic began to take hold. Detroit techno had maintained its integrity throughout the rave era and was pushing a new generation of so-called
7232:
7160:
3317:
1268:
hit in fall 1988. The record was also responsible for bringing industry attention to May, Atkins and Saunderson, which led to discussions with
7075:
1797:
as handed down and outdated. The Berlin scene offered an alternative and many began embracing an imported sound that was being referred to as
5037:
3994:
2796:
7034:
Jim Aikin, Keyboard Magazine, reprinted in Software Synthesizers: The Definitive Guide to Virtual Musical Instruments. Backbeat Books, 2003.
7021:
Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the ReBirth RB-338 V2 published by
5877:
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
1704:
techno club in Germany, opened in Munich and was a place for the formation of the southern German techno scene, where protagonists such as
4326:
1473:
By 1987 a German party scene based around the Chicago sound was well established. In the late 1980s, acid house also established itself in
1322:
The club closed on 24 November 1989, with Derrick May playing "Strings of Life" along with a recording of clock tower bells. May explains:
833:
that anybody ever wanted to hear. Those two groups were really big in Detroit at the time. In fact, they were one of the main reasons why
6761:
4708:
Fikentscher (2000:5), in discussing the definition of underground dance music as it relates to post-disco music in America, states that:
4495:
3604:
2222:
1503:
7406:
7014:
5402:
4868:
3715:
1133:
By 1988, house music had exploded in the UK, and acid house was increasingly popular. There was also a long-established warehouse party
6379:
2378:
1573:(1993–1997). It was in Tresor at this time that a trend in paramilitary clothing was established (amongst the techno fraternity) by DJ
7383:
10338:
5875:
Butler 2006:114. Graham Massey has discussed the use of unusual meters in 808 State's music commenting online on 18 June 2004, that:
5630:
4677:
5288:
Henkel, O.; Wolff, K. (1996) Berlin Underground: Techno und Hiphop; Zwischen Mythos und Ausverkauf, Berlin: FAB Verlag, (pp. 81–83).
5087:
3541:
Julien, O. & Levaux, C. (2018). Over and over:exploring repetition in popular music. New York, NY: Bloomsbury Academic, page 76.
3062:
while recording to a multi-track device. Other producers achieve similar results by using the automation features of computer-based
10120:
6637:
6357:
6316:
5449:, Underground Resistance were dedicated to 'fighting the power' not just through rhetoric but through fostering their own autonomy.
6827:
5860:
9192:
8188:
6094:) were as adept at brutal dancefloor tracks as what its detractors present as self-indulgent ambient 'noodling'". Blake, Andrew,
5343:
2338:
scene had established itself in the UK. It was largely based around an alliance between warehouse party goers from various urban
1335:
Though short-lived, MI was known internationally for its all-night sets, its sparse white rooms, and its juice bar stocked with "
629:
205:
7327:
6219:
Loubet E.& Couroux M., Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere,
4818:
Detroit's "techno" ... and many more stylistic outgrowths have occurred since the word "house" gained national currency in 1985.
4173:
3959:
3074:
being a commonly used process. A more idiosyncratic approach to production is evident in the music of artists such as Twerk and
1981:
in 1990, were venues which helped bring techno into the country. Trade has been referred to as the 'original all night bender'.
10416:
7253:
5604:
2852:(commercial varieties being an exception) and is produced with the intention of its being heard in the context of a continuous
2827:, described the example as "quite amazing," noting that it sounded not unlike something that "could be coming out next week on
1589:, hardcore punk, and now we have a very hardcore house sound." This emerging sound is thought to have been influenced by Dutch
1327:
potential. We had no inhibitions, no standards, we just did it. That's why it came off so fresh and innovative, and that's why
1195:
503:
356:
5964:
4477:
2273:
eventually became the name most commonly used for much of the experimental dance music emerging during the mid-to-late 1990s.
8263:
7885:
7300:
6674:
6503:
5178:
3250:. By the mid-2000s a number of software-based virtual studio environments had emerged, with products such as Propellerhead's
3234:
advanced, interacting with music production technology was possible using means that bore little relationship to traditional
2466:
With an increasing diversification (and commercialization) of dance music, the collectivist sentiment prominent in the early
1072:
The resulting Detroit sound was interpreted by Derrick May and one journalist in 1988 as a "post-soul" sound with no debt to
6680:
5771:
5493:
5259:
4833:
2975:, yet in many cases the basic disco-type pattern was used as a foundation, with polyrhythmic elaborations added using other
2770:
was an Essex band formed in 1982, which also showed funk and EDM influence on their sound around this time. The Danish band
2267:
dance music for the "sedentary and stay at home". Following the commercial success of the compilation in the United States,
8038:
7576:
6438:
6290:
5905:
2136:" and "Cobra Bora" in 1989. Detroit producer Mike Banks was heavily influenced by jazz, as demonstrated on the influential
7177:
Best Audio Editing Software of the Year – 1st Ableton Live, 4th Reason. Best Audio DJ Software of the Year – Ableton Live.
4297:
What do you consider to be the most important turning points in the history of Detroit techno?" "The release of Model 500
8303:
7990:
7969:
5120:
7939:
5848:
was flowering. Massey remembers taking the white label to Mike Pickering, Graeme Park, and Jon Da Silva, and notes that
3832:
7918:
7901:
7869:
7850:
7831:
7814:
7797:
7780:
7763:
7755:
7738:
7721:
7704:
7673:
7656:
7639:
7622:
7563:
7546:
7529:
7512:
7495:
6169:
5487:
5342:
Fischer, Marc; von Uslar, Moritz; Kracht, Christian; Roshani, Anuschka; Hüetlin, Thomas; Jardine, Anja (14 July 1996).
5210:
4924:
3938:
1606:
5940:
2447:
led to the appearance (in the UK initially) of inventive new music that sounded far-removed from techno. For instance
858:
to clubs that were hoping to attract larger audiences. Local church activity centers, vacant warehouses, offices, and
10431:
10343:
6705:
6248:
4664:
3618:
3347:
2608:
1457:
collective. While this early work was strongly characterized as experimental electronic music fused with strong EBM,
7582:
6036:
5717:
3368:
In Germany, noted techno clubs of the 1990s include Tresor and E-Werk in Berlin, Omen and Dorian Gray in Frankfurt,
2751:
hi-hat, which would become a main feature of techno and house ten years later. Another example is a record entitled
1801:
The move away from EBM had started in Berlin when acid house became popular, thanks to Monika Dietl's radio show on
1429:
club in 1987. Talla's club spot served as the hub for the regional EBM and electronic music scene, and according to
714:
9501:
8072:
6576:
4789:
4465:
4400:
4374:
3451:
1777:, deriving instead from a 1980s EBM-oriented club scene cultivated in part by DJ/musician Talla 2XLC in Frankfurt.
7954:
7099:
6062:
5654:
4452:
4439:
4426:
4413:
2766:
began including funk and EDM elements into their sound, and in later years, would come to be described as techno.
1315:
with Darryl Wynn and Derrick May participating as Friday night DJs, and Baker and Chez Damier playing to a mostly
10426:
8298:
7946:– Catalog No.: PLX-029; Label: Plexifilm; Released: 19 September 2006; Director: Gary Bredow; Length: 64 minutes.
6861:, Paper presented at the 6th International Conference On Popular Music Studies, Berlin, Germany, 15–20 July 1991.
6264:
5739:
5226:
4387:
4284:
3637:
Typically, that birth is traced to the early '80s and the emaciated inner-city of Detroit, where figures such as
2441:
2412:
Spiral Tribe, Bedlam and other English sound systems took their cooperative techno ideas to Europe, particularly
1244:, helping Kevin, helping Juan, trying to put Neil Rushton in the right position to meet everybody, trying to get
778:
Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians,
9293:
6791:
3066:. Techno can consist of little more than cleverly programmed rhythmic sequences and looped motifs combined with
1577:; possibly as an expression of a commitment to the underground aesthetic of the music, or perhaps influenced by
1161:, as a party drug, started to gain prominence. Other important UK clubs at this time included Back to Basics in
7682:"Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno,"
7478:
6525:
4033:
2416:
where it was cheaper to live, and audiences were quick to appropriate the free party ideology. It was European
2205:
was used to differentiate more sophisticated versions of underground techno from rave-oriented styles such as
1169:, where Mike Pickering and Graeme Park's Friday night spot, Nude, was an important proving ground for American
1077:
429:
10021:
7433:
3935:"Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics"
10306:
9971:
5375:
3264:
environments. Some of the more popular programs for achieving such ends included commercial releases such as
2285:
2149:
2137:
1888:
1828:
1594:
1578:
561:
346:
3438:
have gained notoriety for supporting techno. In the 2010s, a techno scene also emerged in Georgia, with the
1859:. The growth of techno's popularity in Europe between 1988 and 1992 was largely due to the emergence of the
1449:
The Frankfurt tape scene evolved around the early and experimental work done by the likes of Tobias Freund,
1019:
10316:
10299:
7052:
2775:
2371:
974:" (released under the alias Rhythm Is Rhythm) is considered a classic in both the house and techno genres.
946:," a seminal work that is generally considered the first techno production. Of this time, Atkins has said:
17:
7595:
7219:
6408:
3547:
Webber, S. (2008). DJ skills : the essential guide to mixing and scratching. Oxford: Focal, page 253.
2570:
exposed the popular music audience to the Detroit techno sound when she featured material from Cybotron's
10411:
8032:
6988:
5830:
records for inspiration. This led to the inclusion of a distinctive saxophone solo. Massey recalls that:
1308:
6965:
6942:
4258:
2611:
in the 2000s, helped diffuse some of the genre's more dubious mythology. Even the Detroit-based company
2385:
scene for dead. Following this many of the traveller artists moved away from Britain to Europe, the US,
8012:
7859:
3374:
2621:
2347:
2028:'s Kraftwerk. The dance sounds of Chicago and Detroit also had another German connection, as it was in
1465:
influences, the later work during the mid and late 1980s clearly transitioned to a clear techno sound.
1434:
437:
6161:
1280:
But, when the group were on the verge of finalising their contract, May allegedly refused to agree to
1085:
942:. The same year saw an important turning point for the Detroit scene with the release of Model 500's "
10328:
10289:
9109:
9104:
8875:
8256:
7349:
6209:
Any form of electronica genealogically related to Techno but departing from it in one way or another.
5319:, (p. 123), in Anz, P.; Walder, P. (Eds) (1999 rev. edn, 1st publ. 1995, Zurich: Verlag Ricco Bilger)
4569:
3067:
3063:
3051:
1919:
Records. A number of New York producers also made an impression in Europe at this time, most notably
1652:
1437:
magazine, it had historical merit in being the first club in Germany to play almost exclusively EDM.
1261:
784:
414:
8328:
7227:
7164:
7072:
5979:
2819:, was found to contain music that sounded remarkably like contemporary EDM. Commenting on the tape,
2322:
2056:
1062:
falling out, tired of the R&B system, so a new progressive sound has emerged. We call it techno!
2807:
suggested that "Scott's importance lies mainly in his realization of the rhythmic possibilities of
2724:
2547:
While techno and its derivatives only occasionally produce commercially successful mainstream acts—
1141:
scene. In 1988, the music played at warehouse parties was predominantly house. That same year, the
939:
875:
789:
an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including
10279:
6081:, The Independent (UK), Music Magazine (supplement), newspaper article published February 11, 2007
5676:"I feel love: Donna Summer and Giorgio Moroder created the template for dance music as we know it"
5033:
3986:
2220:
was among the first to capitalize upon this development with the release of the compilation album
10236:
9276:
9197:
8404:
8205:
3902:
3610:
3588:
Detroit's music had hitherto reached British ears as a subset of Chicago house; Rushton and the
3079:
2861:
2763:
2269:
2169:
1802:
1786:
1726:
1515:
1138:
263:
7982:– Label: Pyramids of London Films; Released 2004; Director: Michael Andrawis; Length: 62 minutes
4360:"RIR singles like 'Strings of Life'...are among the few classics in the debased world of techno"
4332:
2748:
10388:
9491:
8557:
8283:
3893:
3642:
3099:
2659:
2584:
2069:
1049:, funk, disco, and electro, pushing EDM into uncharted terrain. They deliberately rejected the
1039:
1027:
740:
570:
532:
528:
501:
originated in Germany in the early 1980s. In 1988, following the UK release of the compilation
390:
7011:
6240:
6234:
5473:
4503:
4025:
3624:
3138:) using hardware sequencers such as the Korg SQD1 and Roland MC-50, and the limited amount of
2999:
There are many ways to create techno, but the majority will depend upon the use of loop-based
2666:'s "Robot", and these songs were classified as 'techno kayou' or 'bubblegum techno.' In 1985,
1647:, underneath a Rhine bridge, a venue that offered a non-commercial alternative to Frankfurt's
8719:
8394:
8367:
7410:
5845:
5392:
4885:. They had it in their heads without articulating it; it was already part of their language."
4860:
3719:
3014:
2556:
2528:
in there with him. The elevator's stalled between the pharmacy and the athletic wear store."
2281:
2119:
1896:
1806:
1602:
1507:
1364:
1236:
Derrick May views this as one of his busiest times and recalls that it was a period where he
1109:
1089:
896:
810:
798:
421:
82:
42:
7961:– Label: Les Films du Garage; Released: 2012; Director: Amélie Ravalec; Length: 52 minutes.
7201:
Repetitive Beats: Free Parties and the Politics of Contemporary DIY Dance Culture in Britain
6383:
6350:"Permanent record: Jeff Mills talks Detroit techno and the exhibit that hopes to explain it"
6326:
5838:
The production was released as a white label in May 1989 and later issued on the mini-album
4083:(Sicko 1999:35,51–52). Citations still needed for Comrades, Hardwear, Rumours, and Weekends.
2492:
By the end of the 1990s, a number of post-techno underground styles had emerged, including
2255:. In the same period (1992–93) other names were also bandied about such as armchair techno,
1758:
In Germany, fans started to refer to the harder techno sound emerging in the early 1990s as
1430:
10421:
9668:
9281:
8249:
8065:
7379:
6765:
5857:
3055:
3039:
2960:(quarter note equals 120 pulses per minute) and 150 bpm, depending on the style of techno.
2667:
2359:
2133:
1539:
1023:
838:
752:
578:
9511:
5626:
4687:
4250:
3684:'appropriated technologies' – accorded with some, though not all, of their own intuitions,
2732:
8:
9749:
9626:
9577:
9000:
8680:
8389:
8343:
8041:– online historical documentary produced by the Australian Broadcasting Corporation (ABC)
8015:– Label: Les Films à Lou; Released: 1996; Director: Dominique Deluze; Length: 63 minutes.
5815:
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5446:
5083:
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3010:
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and such strictures are often ignored in favor of timbral manipulation alone. The use of
2887:
2880:
2704:
2662:. Around 1980, the members of YMO added synthesizer backing tracks to idol songs such as
1782:
1634:
8377:
6629:
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5197:
Hecktor, Mirko; von Uslar, Moritz; Smith, Patti; Neumeister, Andreas (1 November 2008).
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9589:
9414:
9409:
9212:
8968:
8860:
8850:
8731:
8714:
8130:
7438:
6819:
5833:
5084:"How Frankfurt's '80s Tape Scene Laid the Foundation for the City's Techno Renaissance"
4629:
3222:, and may just be the one that many waiting for." Reason is as of 2018 at version 10.
2406:
2343:
2206:
2201:
1794:
1676:
1672:
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1426:
1378:
1273:
928:
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31:
5879:(the feel of the track was created by combining parts in 6/8 time with others in 4/4).
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9352:
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8651:
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7635:
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7542:
7525:
7508:
7491:
7474:
7296:
6670:
6244:
6162:"Public Order: Collective Trespass or Nuisance on Land – Powers in relation to raves"
5483:
5206:
5174:
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2012:
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1382:
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882:
855:
732:
210:
152:
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6870:
Pope, R. (2011), Hooked on an Affect: Detroit Techno and Dystopian Digital Culture,
5596:
4169:
10256:
10144:
10105:
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9990:
9946:
9877:
9695:
9424:
9256:
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based on crafts, alternative medicine, and entertainment...In the mid-eighties, as
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One of the first Detroit productions to receive wider attention was Derrick May's "
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and Martin Price added additional elements by drawing upon Massey's collection of
5227:""Leaving heroin and melancholia behind" Danielle de Picciotto on the Love Parade"
3716:"Music Faze – The Electro House, Dubstep, EDM Music Blog: Electronica Genre Guide"
2940:
sound every second eighth note. This is essentially a drum pattern popularized by
2280:
trend that received little, if any, wider attention. Amongst others they include:
1871:
In the United States during the early 90s, apart from regional scenes in Detroit,
1593:
and Belgian hardcore; styles that were in their own perverse way paying homage to
624:
regional variants quickly evolved and by the early 1990s techno subgenres such as
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9384:
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8702:
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8333:
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7994:
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Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music
7322:
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5256:
5036:[Talla 2XLC – In the beginning, there was the Technoclub]. Faze Magazin.
4837:
4481:
4469:
4456:
4443:
4430:
4417:
4404:
4391:
4378:
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has been associated with techno since the early 1990s and clubs such as London's
3288:. In a certain sense this technological innovation lead to the resurgence of the
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3005:
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2008:
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scout for Virgin's "10 Records" imprint) and Derrick May, introduced of the word
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552:
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479:
67:
8241:
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5148:
Robb, D. (2002), Techno in Germany: Its Musical Origins and Cultural Relevance,
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3934:
3325:
3230:
During the mid-to-late 1990s, as computer technology became more accessible and
2032:
that Giorgio Moroder and Pete Bellotte first produced the synthesizer-generated
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9924:
9904:
9805:
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9744:
9594:
9308:
9232:
9187:
8983:
8978:
8948:
8938:
8910:
8685:
8673:
8581:
8522:
8362:
8323:
8162:
8142:
8115:
8100:
6321:
6123:
5793:
3260:
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3190:
3157:
3047:
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2592:
2552:
2505:
2413:
2256:
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2065:
2051:
1992:
1955:
1951:
1912:
1848:
1793:, but a younger generation of club goers had a perception of the older EBM and
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Atkins also mentions that "around 1980, I had a tape of nothing but Kraftwerk,
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7382:[Germanys 15 best Clubs] (in German). Faze Magazin. 31 December 2015.
7292:
5110:
4748:– Mark Moore commenting on the initially slow response to House music in 1987.
3888:
1648:
1184:
eased London club-goers into acceptance of house, according to DJ Mark Moore.
10400:
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9133:
9059:
9042:
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8773:
8625:
8552:
8455:
8425:
8409:
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8193:
7539:
Popular Music in France from Chanson to Techno: Culture, Identity and Society
6530:
6302:
6277:
5926:(UR-025) album which included the underground UR smash titled 'Hitech Jazz'."
5823:
5379:
4642:
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3482:
3431:
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or sequence of measures. This process will usually continue until a suitable
2921:
2899:
2820:
2792:
2712:
2638:
2567:
2497:
2481:), Pure (Edinburgh, whose resident DJ Twitch later founded the more eclectic
2456:
2452:
2016:
1935:
1920:
1908:
1884:
1872:
1717:
1585:. DJ Tanith commented at the time that "Berlin was always hardcore, hardcore
1553:
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1422:
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1348:
1316:
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1118:
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a notable point of reference. The music produced in the mid-to-late 1980s by
556:
425:
102:
8033:"From the Autobahn to I-94: The Origins of Detroit Techno and Chicago House"
6808:
Extensive collection of review excerpts hosted on the Raymond Scott website.
6762:"Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi"
6409:"New Ford Focus Commercial Features Ground Breaking Juan Atkins' Techno Hit"
4170:"First academic conference on techno music and its African American origins"
2591:
In the late 90s the publication of relatively accurate histories by authors
2025:
1264:" (1988), a track that was almost not included on the compilation, became a
782:
tape traders, and aspiring DJs. They also found musical inspiration via the
10311:
10221:
10209:
10166:
10053:
9914:
9867:
9842:
9636:
9560:
9451:
9429:
9389:
9374:
9266:
9170:
9148:
9138:
9094:
9089:
9005:
8905:
8885:
8843:
8808:
8736:
8692:
8596:
8110:
7877:
5936:
4577:
3360:
3255:
3071:
3059:
3018:
2976:
2964:
2949:
2918:
2856:, wherein the DJ progresses from one record to the next via a synchronized
2849:
2828:
2699:
2671:
2646:
2579:
2525:
2513:
2377:
This one event was largely responsible for the introduction in 1994 of the
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2004:
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586:
417:
238:
190:
157:
130:
6701:
3126:, and Yamaha DX100 (as heard on Derrick May's seminal 1987 techno release
1639:
1418:
862:
auditoriums were the early locations where the musical form was nurtured.
805:
by artists such as Giorgio Moroder, Kraftwerk, Yellow Magic Orchestra and
10321:
10226:
10171:
10154:
10078:
10063:
10011:
9892:
9887:
9847:
9830:
9825:
9810:
9717:
9611:
9555:
9419:
9404:
9379:
9347:
9143:
9119:
8995:
8990:
8933:
8900:
8890:
8833:
8818:
8813:
8778:
8751:
8663:
8618:
8537:
8515:
8487:
8480:
8430:
8399:
8289:
8230:
8220:
8183:
8157:
8095:
8044:
6031:
5975:
interview with Dave Angel detailing his interest in jazz. Retrieved from
5840:
5714:
5397:
5348:
4786:"Various – Techno! The New Dance Sound Of Detroit (Vinyl, LP) at Discogs"
3638:
3369:
3329:
3289:
3247:
3235:
3035:
3031:
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2914:
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2743:
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also clearly demonstrated the influence of techno inspired club culture.
2575:
2394:
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2210:
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2115:
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I think Dan and I both realized that something was missing – an element
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appearances and negotiations collapsed. According to May, ZTT label boss
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175:
92:
62:
38:
7045:"ReBirth: virtual synthesizer and drum machine iPad app – Propellerhead"
6568:
4462:
4397:
4371:
3606:
All music guide to electronica: the definitive guide to electronic music
1487:, an illegal venue for acid house parties, which existed until 1990. In
10294:
10241:
10231:
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10176:
10125:
10090:
9978:
9961:
9899:
9882:
9872:
9800:
9710:
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9616:
9550:
9538:
9394:
9303:
9298:
9217:
9180:
9128:
9025:
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9010:
8953:
8865:
8838:
8803:
8783:
8756:
8726:
8697:
8613:
8608:
8603:
8542:
8492:
8382:
8338:
8210:
8178:
8152:
8125:
8120:
7949:
7096:
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6057:
5651:
5426:
4785:
4449:
4436:
4423:
4410:
3435:
3404:
3123:
3046:
in the mix. Quite often, this is achieved by physically manipulating a
2972:
2933:
2812:
2767:
2655:
2493:
2382:
2363:
2335:
2309:
2297:
2157:
2125:
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2000:
1892:
1876:
1840:
1731:
1688:
1614:
1257:
1241:
1134:
1126:
1101:
1046:
1000:
978:
934:
Eventually, Atkins started producing his own music under the pseudonym
830:
728:
646:
641:
462:
Much of the instrumentation in techno is used to emphasize the role of
405:
being in the range from 120 to 150 beats per minute (BPM). The central
366:
288:
258:
253:
200:
97:
9663:
5856:, sleeve notes for album release of the same name, retrieved from the
5735:
4384:
4292:
10387:
This 2013 edition is expanded to include coverage of dubstep and the
10095:
10058:
9956:
9931:
9820:
9775:
9759:
9705:
9631:
9621:
9599:
9521:
9506:
9486:
9446:
9436:
9362:
9342:
9288:
9249:
9227:
9207:
9165:
9077:
9037:
8828:
8768:
8668:
8646:
8630:
8591:
8576:
8532:
8450:
8445:
8435:
7840:
7579:
7161:"23rd Annual International Dance Music Awards Nominees & Winners"
6795:
6666:
6131:
5819:
5202:
4813:
House Music All Night Long – Best of House Music Vol. 3 (liner notes)
4105:(Directed by Gary Bredow. Plexifilm DVD PLX-029, 2006). Published in
3412:
3277:
3219:
3143:
2929:
2903:
2771:
2720:
2687:
2425:
2402:
2355:
2339:
2331:
2301:
2129:
2076:, in the artistic sense of the word, too "arty"). It is thought that
2033:
1760:
1747:
1668:
1620:
1610:
1462:
1458:
1410:
1406:
1402:
841:' came out, that just put the last nail in the coffin of disco music.
680:
520:
516:
452:
406:
283:
243:
233:
134:
112:
87:
72:
9244:
4020:
Modulations: A History of Electronic Music, Throbbing Words on Sound
2536:
2226:
Of this time, Warp founder and managing director Steve Beckett said
1683:. They initially played a mix of different styles including Belgian
10348:
10130:
10026:
9983:
9966:
9941:
9852:
9785:
9780:
9737:
9732:
9678:
9656:
9468:
9463:
9332:
9313:
9261:
9153:
9114:
9082:
9072:
9067:
9052:
9047:
8973:
8958:
8870:
8763:
8527:
8357:
8225:
8147:
8026:
3439:
3427:
3400:
3379:
3273:
3207:
3135:
3075:
2642:
2421:
2417:
2398:
2351:
2305:
1966:
1713:
1684:
1454:
908:
748:
705:
has acknowledged that he had an early enthusiasm for Kraftwerk and
684:
371:
278:
273:
7282:
3034:
successive layers of material while continuously looping a single
1651:-based clubs. Other notable underground parties were those run by
1601:. Other influences on the development of this style were European
1526:
1389:
In 1982, while working at Frankfurt's City Music record store, DJ
1373:
9936:
9919:
9727:
9690:
9582:
9533:
9320:
9030:
7911:
The Constructivist Moment: From Material Text to Cultural Poetics
7285:
Loss of safety? Lifestyles between multi-optionality and scarcity
7082:
Propellerhead Software Reason Virtual Music Studio. Published by
6127:
5167:
Macht's den Krach leiser! Popkultur in München von 1945 bis heute
4075:
Snobs, Brats, Ciabattino, Rafael, and Charivari are mentioned in
3898:
3889:"Derrick May on the roots of techno at RBMA Bass Camp Japan 2010"
3396:
3388:
3269:
3265:
2991:
2891:
2800:
2088:, and related trends straying far from the social commentary and
1970:
1946:
was another focus of second-wave techno in this time period. The
1943:
1856:
1739:
1735:
1705:
1538:
Following the fall of the Berlin Wall on 9 November 1989 and the
923:(1982) as unique, Germanic, synthesized funk, but he later heard
613:
609:
601:
508:
487:
483:
471:
126:
7714:
This is Our House: House Music, Cultural Spaces and Technologies
7044:
6704:(in German). Zentrum für Populäre Kultur und Musik. 8 May 2017.
6630:"Name that number: The history of Detroit's first techno record"
5850:
it rose through the ranks to become the last tune of the night.
3142:
that was featured in this early style was accomplished using an
2936:
or clap on the second and fourth pulse of the bar, with an open
1421:. Talla further popularized the term in Germany when he founded
507:, the term came to be associated with a form of EDM produced in
10246:
10159:
10068:
9790:
9722:
9700:
9641:
9604:
9496:
9367:
9357:
9239:
9222:
9160:
8963:
8746:
8741:
8547:
8215:
8198:
7260:, BBC news report, published Thursday, 9 March 2006, 17:30 GMT.
7216:
6119:
5679:
5382:. Reynolds, S. (1996), Low end theory, The Wire, No. 146, 4/96.
5196:
5116:
4682:
3115:
3111:
3107:
2872:
2865:
2853:
2501:
2482:
2460:
2429:
2213:
2101:
I thought it was time for a return to the original underground.
2085:
2029:
1978:
1931:
1916:
1590:
1586:
1542:
in October 1990, free underground techno parties mushroomed in
1488:
1360:
1248:
endorsed so that everyone liked him, trying to convince Shake (
1213:
779:
621:
555:
themes relevant to life in contemporary American society, with
475:
463:
448:
444:
402:
398:
311:
268:
138:
77:
3102:, the preferred drum machine during the early years of techno.
1425:
at Frankfurt's No Name Club in 1984, which later moved to the
1057:
and soul, and instead embraced technological experimentation.
985:' using a drum machine he bought from Derrick May. He claims:
770:
imagery to articulate their visions of a transformed society.
10216:
10139:
9646:
9516:
8880:
8656:
7748:
Generation Ecstasy: Into the World of Techno and Rave Culture
7505:
Last Night a DJ Saved My Life: The History of the Disc Jockey
7273:, 9(1): 3–6, 2004 Cambridge University Press, United Kingdom.
7146:
Collins, N.(2003a), Generative Music and Laptop Performance,
6859:
The Decline of Functional Harmony in Contemporary Dance Music
5341:
5171:
Turn down the noise! Pop culture in Munich from 1945 to today
5012:
Synthiepop –Die gefühlvolle Kälte: Geschichten des Synthiepop
4101:
Dr. Rebekah Farrugia paraphrasing Derrick May in a review of
3285:
2953:
2945:
2941:
2857:
2787:
2737:
2496:(a style that combines some of the aesthetics of techno with
2472:
2390:
1947:
1644:
1256:
Commercially, the release did not fare as well and failed to
1162:
846:
834:
797:, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "
756:
456:
7773:
Energy Flash: a Journey Through Rave Music and Dance Culture
7731:
Energy Flash: a Journey Through Rave Music and Dance Culture
7691:
in Journal of Popular Music Studies 25, no. 2(2013): 154–84.
6382:(Press release). Ford Motors. 6 October 2000. Archived from
5579:
Shallcross, Mike (July 1997). "From Detroit To Deep Space".
4328:
Detroit Electronic Music Festival salutes Chicago connection
1165:, Sheffield's Leadmill and Music Factory, and in Manchester
911:
author Alvin Toffler, the original source for words such as
10333:
10115:
10100:
9857:
3131:
2980:
2925:
2467:
2111:
2081:
1860:
1824:
1158:
1105:
859:
818:
794:
790:
724:
544:
361:
248:
7556:
Altered State: The Story of Ecstasy Culture and Acid House
6975:: Overview of the Roland TR-808 drum machine published by
6952:: Overview of the Roland TR-909 drum machine published by
5836:'s 'Open Your Eyes'...That track was happening everywhere.
5219:
4079:(Reynolds 1999:15); Gables and Charivari are mentioned in
2967:
employed in the original Detroit-based techno made use of
1288:
had envisaged that the trio would be marketed as a "black
8050:
7608:, 10 Records Ltd. (UK), 1988 (LP: DIXG 75; CD: DIXCD 75).
6929:
Keyboard Magazine Vol. 21, No.7 (issue #231), July 1995,
5482:, vol. 3, Santa Barbara, CA: ABC-CLIO, p. 942,
2617:
2386:
1269:
1114:
766:
These early Detroit techno artists additionally employed
600:
After the success of house music in a number of European
7649:
More Brilliant Than the Sun: Adventures in Sonic Fiction
6469:"Techno as it should be: Juan Atkins and minimal techno"
5976:
5027:
5025:
3772:
Hamersly, Michael (23 March 2001). "Electronic Energy".
3259:
production studios, and thanks to continued advances in
2886:
Unlike other forms of EDM that tend to be produced with
2582:
nomination for his writing credit. Elliott's 2001 album
7617:, Continuum International Publishing Group Ltd., 2004 (
5425:
Moby's track "Go!", a work featuring a sample from the
4834:"Juan Atkins [interview for Afropop Worldwide]"
3787:
Schoemer, Karen (10 February 1997). "Electronic Eden".
3130:). Much of the early music sequencing was executed via
2560:
1477:
as a new trend in clubs and discotheques. In 1988, the
900:(1983) and its moodier followup, "Techno City" (1984).
8035:– reminiscences in 2005 by techno and house innovators
5530:
5528:
4532:
4530:
3134:(but neither the TR-808 nor the TB-303 had MIDI, only
2350:
operating at this time were Exodus in Luton, Tonka in
1768:). This alternative spelling, with varying numbers of
907:
to describe Cybotron's music, taking inspiration from
6614:
6612:
5022:
4714:
You Better Work!: Underground Dance Music in New York
2574:
on her 2006 release "Lose Control"; this resulted in
2036:
sound, including the seminal four-on-the-floor track
7980:
Tresor Berlin: The Vault and the Electronic Frontier
7350:"The 10 best clubs in Germany that aren't in Berlin"
6872:
Dancecult: Journal of Electronic Dance Music Culture
6056:
Track listing for the Warp Records 1992 compilation
5818:) maintains that "Pacific State" was intended for a
5016:
Synthiepop – The soulful cold: Stories of Synthiepop
4561:
4559:
4557:
5652:
Tresor II: Berlin & Detroit – A Techno Alliance
5525:
4894:
4892:
4832:Bishop, Marlon; Glasspiegel, Wills (14 June 2011).
4527:
4484:
with the words "techno" or "house" in their titles.
3378:in Munich as well as Stammheim in Kassel. In 2007,
1997:
Tresor II: Berlin & Detroit – A Techno Alliance
1468:
1385:, venue of the dance event Technoclub by Talla 2XLC
751:, as influences, along with Kraftwerk. YMO's song "
7664:Nelson, A., Tu, L.T.N., Headlam Hines, A. (eds.),
7205:DIY Culture: Party and Protest in Nineties Britain
6609:
5669:
5667:
5065:
5063:
5061:
5059:
5057:
5055:
4977:Once Rushton and Atkins set techno apart with the
4544:
4542:
4017:
3118:bass line generator, and synthesizers such as the
2778:" in 1983 with a similar funky electronica sound.
2755:, released in 1976 by Parisian Eurodisco producer
2132:helped fuel this development with tracks such as "
8271:
6233:Ross, Andrew; Lysloff, René; Gay, Leslie (2003).
4831:
4591:
4589:
4587:
4554:
4369:"Strings of Life" appears on compilations titled
3468:
3466:
3206:asserted that ReBirth had "opened up a whole new
2879:in general, are important aspects of the overall
2868:over other musical parameters, but the design of
2632:
1831:. Derrick May's experimentation on works such as
1187:
10398:
7342:
5458:
5456:
5385:
5335:
4889:
4827:
4825:
4771:
4769:
4767:
4199:unique and adventurous piece of synthesizer funk
3003:as a compositional method. Techno musicians, or
2995:Example of a professional production environment
2890:, techno does not always strictly adhere to the
1827:to the distinctly anti-commercial sentiments of
1229:instead favored a term they were already using,
7861:FreeNRG: Notes From the Edge of the Dance Floor
7826:, 2nd ed., Wayne State University Press, 2010 (
7824:Techno Rebels: The Renegades of Electronic Funk
7807:Techno Rebels: The Renegades of Electronic Funk
7666:TechniColor: Race, Technology and Everyday Life
7190:, Common Ground, Melbourne, 2001, (pp. 93–102).
7188:FreeNRG: Notes From the Edge of the Dance Floor
6753:
6380:"Ford Unveils New Limited Street Edition Focus"
5664:
5052:
4678:"Interview: Derrick May – The Secret of Techno"
4539:
497:Use of the term "techno" to refer to a type of
7276:
6232:
5902:"Galaxy 2 Galaxy – A Hi Tech Jazz Compilation"
5832:We were trying to do something in the vein of
5754:
5574:
5572:
5192:
5190:
5005:
5003:
4962:
4960:
4915:
4913:
4584:
3463:
1220:to UK audiences. Although the compilation put
938:, and in 1985 he established the record label
689:In exploring Detroit techno's origins, writer
413:(4/4) and often characterized by a repetitive
8257:
8066:
7434:"At This Techno Club, the Party Is Political"
7150:: Vol. 22, Issue 4. London: Routledge: 67–79.
5453:
4822:
4764:
4655:Unterberger R., Hicks S., Dempsey J, (1999).
4354:Harrison, Andrew (July 1992). "Derrick May".
3314:The examples and perspective in this section
2366:, Bedlam, Circus Warp, LSDiesel and London's
2288:, 100% Pure (1993) and Ferox Records (1993).
1521:
1514:in West Berlin, just a few months before the
693:maintains that "Kraftwerk are to techno what
7951:Paris/Berlin: 20 Years Of Underground Techno
6729:
6652:
6223:, Vol. 24, No. 4. (Winter, 2000), pp. 19–32.
6194:Bush, Calvin, Techno – The Final Frontier?,
5937:"Dave Angel: Background Overview at Discogs"
5374:Simon Reynolds, in an interview with former
4103:High Tech Soul: The Creation of Techno Music
3596:
3582:
3580:
3578:
3576:
3082:are employed in the generation of material.
2913:The main drum part is almost universally in
2834:
2072:found difficult to accept, finding the term
809:, alongside the funk sounds of acts such as
7695:Pesch, M. (Author), Weisbeck, M. (Editor),
6909:
6907:
6658:
6500:"【7EP】YMO – the Spirit of Techno 過激な淑女カラオケ"
5569:
5544:
5542:
5540:
5187:
5034:"Talla 2XLC – Am Anfang war der Technoclub"
5000:
4957:
4910:
4627:Atkins, Juan (22 May 1992). "Juan Atkins".
4463:House Nation – Classic House Anthems Vol. 1
3808:
3806:
2986:
2839:
2084:, with increasing tempos, the emergence of
854:together to market their mixing skills and
486:tends to feature more prominently. Typical
8264:
8250:
8073:
8059:
7792:, International Music Publications, 1992 (
6166:Criminal Justice and Public Order Act 1994
6147:
6145:
6143:
6141:
6030:Anker M., Herrington T., Young R. (1995),
5844:at the end of July that year, just as the
5578:
5445:Presenting themselves as a sort of techno
5275:
5273:
4993:
4991:
4989:
3874:
3872:
3478:"Electro-clash builds on '80s techno beat"
3332:, or create a new section, as appropriate.
2263:, but all referred to an emerging form of
2235:
2097:
1328:
1145:party vibe associated with Ibiza-based DJ
10339:Music technology (electronic and digital)
7571:Cosgrove, S. (a), "Seventh City Techno",
7315:
6759:
6432:
6430:
5887:
5885:
4836:. World Music Productions. Archived from
4716:, Wesleyan University Press, Hanover, NH.
4670:
4107:Journal of the Society for American Music
3573:
3566:
3564:
3472:
3442:in Tbilisi being the most notable venue.
3348:Learn how and when to remove this message
3225:
2607:), plus mainstream press coverage of the
1675:were running a Sunday morning session at
977:Juan Atkins also believes that the first
7878:Technomad: Global Raving Countercultures
7269:Chadabe, J., Electronic music and life,
6904:
6305:, page 95, January 1996, Spin Media LLC.
5733:
5673:
5537:
4493:
4353:
4324:
4282:
4024:. Caipirinha Productions, Inc. pp.
3803:
3786:
3771:
3602:
3359:
3296:
3089:
2990:
2956:tends to vary between approximately 120
2535:
2321:
2055:
1958:by "teenage prodigies" like Beltram and
1903:. In the same period, close to Detroit (
1619:
1525:
1372:
1113:
1018:
701:: the authentic, the origin, the real."
7716:, Ashgate Publishing, Aldershot, 1998 (
7699:, Edition Olms; 5Rev Ed edition, 1998 (
7615:Audio Culture: Readings in Modern Music
7309:
6466:
6138:
5270:
5160:
5158:
5144:
5142:
5140:
5138:
5031:
4986:
4778:
4659:Rough Guides Ltd; illustrated edition.(
4109:(2008) Volume 2, Number 2, pp. 291–293.
4015:
3962:. CNN. 13 February 2003. Archived from
3869:
3740:
3017:fashion, often treating the electronic
2731:’s "From Here to Eternity" (1977), and
2455:) demonstrated influences ranging from
2060:Robert Hood, techno minimalist, in 2009
1753:
1440:
440:. Drum machines from the 1980s such as
14:
10399:
8047:– Oldie but goldie classic techno sets
7597:Techno! The New Dance Sound of Detroit
7404:
7398:
6817:
6627:
6427:
6360:from the original on 29 September 2007
6314:
6280:, page 40, March 1997, Spin Media LLC.
6239:. Wesleyan University Press. pp.
5882:
5479:Encyclopedia of African American Music
5346:[The pure sex. Only better.].
5323:. Reinbek: Rowohlt Taschenbuch Verlag.
5102:
5073:, Sense Music & Media, Berlin, DE.
4927:from the original on 29 September 2011
4858:
4626:
4320:
4318:
4247:Interview with Atkins and Mike Banks.
4121:Vol. 21, No.7 (issue #231, July 1995).
3984:
3932:
3826:
3824:
3822:
3820:
3818:
3741:Critzon, Michael (17 September 2001).
3561:
2645:formed an electronica band called the
2531:
2144:(1991). By 1993, Detroit acts such as
1605:(EBM) groups of the mid-1980s such as
1202:Techno! The New Dance Sound of Detroit
1196:Techno! The New Dance Sound of Detroit
504:Techno! The New Dance Sound of Detroit
357:list of electronic music record labels
8245:
8054:
7593:
7570:
7330:from the original on 24 February 2021
6772:from the original on 5 September 2020
6694:
6640:from the original on 21 December 2008
6566:
6523:
6467:Baishya, Kopinjol (17 October 2005).
6198:, Issue No.4, September 1995, p.48-50
5943:from the original on 5 September 2007
5822:session exclusively, but 808 State's
5769:
5742:from the original on 19 February 2023
5724:, The Wire, Issue #285 (November '07)
5471:
5429:opening theme, entered the top 20 of
5405:from the original on 26 February 2017
5356:from the original on 17 December 2022
5009:
4176:from the original on 28 December 2019
3905:from the original on 21 December 2021
3830:
3070:of one variety or another, frequency
2948:) and is common throughout house and
2932:beats) on each quarter-note pulse, a
2674:'s album, and described the genre as
2379:Criminal Justice and Public Order Act
2163:
7770:
7745:
7728:
7711:
7613:Cox, C.(Author), Warner D (Editor),
7502:
7431:
7106:hosted at the Propellerhead website.
6792:"Raymond Scott's Manhattan Research"
6741:. GPI Publications. 1993. p. 28
6662:Perspectives on German Popular Music
6628:Gillen, Brendan (21 November 2001).
6436:
5633:from the original on 5 November 2017
5173:] (in German). Allitera Verlag.
5164:
5155:
5150:German as a Foreign Language Journal
5135:
5090:from the original on 21 January 2021
5040:from the original on 29 January 2020
4810:
4372:The Real Classics of Chicago House 2
4331:. Detroit Free Press. Archived from
3997:from the original on 6 November 2013
3864:Rave America: New school dancescapes
3300:
3026:using a hardware- or computer-based
3009:, rather than employing traditional
1984:
547:. Added to this is the influence of
7913:, Wesleyan University Press, 2003 (
7668:, New York University Press, 2001 (
7632:Rave Culture: An Insider's Overview
7507:, Avalon Travel Publishing, 2006, (
7360:from the original on 17 August 2017
6820:"Lost tapes of the Dr Who composer"
6538:from the original on 29 August 2019
6176:from the original on 4 January 2006
4861:"Machine Soul: A History Of Techno"
4792:from the original on 27 August 2019
4315:
4248:
3815:
3085:
1863:scene and a thriving club culture.
1053:legacy and traditional formulas of
709:, particularly Moroder's work with
604:, techno grew in popularity in the
24:
7908:
7864:, Common Ground, Melbourne, 2001 (
7857:
7838:
7787:
7663:
7553:
7536:
7524:, Indiana University Press, 2006 (
7519:
7446:from the original on 25 March 2022
7386:from the original on 27 April 2020
7380:"Die 15 besten Clubs Deutschlands"
7119:, Ashgate, Adlershot, pp. 111–113.
6920:, Issue No.4, September 1995, p.97
6794:. 21 February 2006. Archived from
6489:79年8月の「ロックマガジン」の増刊号の「MODERN MUSIC」
6347:
6263:Chaplin, Julia & Michel, Sia.
5734:Osselaer, John (1 February 2001).
5686:from the original on June 22, 2017
5607:from the original on 28 March 2018
5472:Price, Emmett George, ed. (2010),
5123:from the original on 16 April 2023
3933:Schaub, Christoph (October 2009).
3718:. 20 December 2014. Archived from
3194:, produced by the Swedish company
2381:; effectively leaving the British
2105:
1866:
1302:
890:in the history of keyboard music.
829:He played all the Parliament and
25:
10443:
10344:Recording studio as an instrument
8029:– The #1 resource for Techno sets
8020:
7821:
7804:
7697:Techno Style: The Album Cover Art
7694:
7646:
7629:
7469:Anz, P. & Walder, P. (eds.),
7250:Technology feeds grassroots media
6579:from the original on 23 June 2020
6411:(Press release). 11 August 2000.
5770:Rubin, Mike (30 September 2001).
5629:. tntmagazine.com. 2 March 2018.
5069:Sextro, M. & Wick H. (2008),
5032:Schäfer, Sven (21 October 2019).
3985:Arnold, Jacob (17 October 1999).
3426:In the United Kingdom, Glasgow's
2906:, where the template is often an
2864:in techno emphasizes the role of
2620:television advertisement for the
2609:Detroit Electronic Music Festival
2420:free parties, such as the annual
2251:but this was quickly replaced by
2045:
1991:In 1993, the German techno label
1081:with techno music, you know it."
656:
10381:
10365:
9502:Christian electronic dance music
7891:
7503:Brewster B. & Broughton F.,
7485:
7425:
7372:
7316:Sherburne, Philip (9 May 2007).
7263:
7241:
7226:item mentioning DIY resurgence:
7210:
7193:
7180:
7153:
7140:
7131:
7122:
7109:
7089:
7066:
7037:
7028:
7005:
6982:
6959:
6936:
6923:
6895:
6886:
6877:
6864:
6851:
6842:
6830:from the original on 1 June 2020
6811:
6784:
6760:Stenshoel, Peter (18 May 2011).
6738:Keyboard, Volume 19, Issues 7–12
6720:
6708:from the original on 24 May 2022
6621:
6600:
6591:
6560:
6550:
6517:
6492:
6483:
6460:
6415:from the original on 24 May 2024
6401:
6372:
6341:
6308:
6283:
6257:
6226:
6213:
6201:
6188:
6154:
6110:
6101:
6084:
6071:
6050:
6024:
6015:
6006:
5997:
5988:
5955:
5929:
5894:
5869:
5808:
5799:
5782:from the original on 24 May 2013
5763:
5727:
5707:
5698:
5674:Brewster, Bill (June 22, 2017).
5645:
5619:
5589:
5560:
5551:
5516:
5507:
5496:from the original on 24 May 2024
5378:label boss Achim Szepanski, for
3960:"Techno music pulses in Detroit"
3452:Detroit Electronic Music Archive
3305:
3213:In 2001, Propellerhead released
2342:scenes and politically inspired
2330:In the early 1990s a post-rave,
1469:Influence of Chicago and Detroit
1342:
1149:was transported to London, when
1014:
801:" Johnson. Mojo's show featured
41:. For the Marvel character, see
7612:
7468:
7461:
7128:Emmerson, S. (2007), pp. 80–81.
7055:from the original on 2010-07-23
6916:interview with Mark Roland in:
6683:from the original on 2024-05-24
6506:from the original on 2023-03-25
6170:Her Majesty's Stationery Office
5465:
5437:
5417:
5368:
5326:
5309:
5300:
5291:
5282:
5248:
5237:from the original on 2022-12-17
5199:Mjunik Disco – from 1949 to now
5076:
4969:
4948:
4939:
4901:
4871:from the original on 2008-12-19
4852:
4804:
4751:
4737:
4728:
4719:
4702:
4649:
4620:
4611:
4602:
4518:
4487:
4363:
4347:
4325:McCollum, Brian (22 May 2002).
4306:
4283:Osselaer, John (30 June 2000).
4275:
4261:from the original on 2024-05-24
4241:
4232:
4223:
4214:
4205:
4188:
4162:
4146:
4133:
4124:
4112:
4095:
4086:
4069:
4060:
4051:
4042:
4009:
3978:
3952:
3941:from the original on 2018-12-29
3926:
3917:
3881:
3856:
3847:
3780:
3765:
3734:
3708:
3693:
3042:arrangement has been produced.
2924:per bar. In its simplest form,
2681:
2442:List of electronic music genres
2326:A sound system at Czechtek 2004
1995:released the compilation album
1817:
1679:, a plush discothèque near the
1272:records about forming a techno
1260:, but Inner City's production "
27:Genre of electronic dance music
7997:– Released: 1996 (screened at
7927:
7845:, New York: Routledge, 2004. (
7537:Cannon, S. & Dauncey, H.,
6818:Wrench, Nigel (18 July 2008).
5109:Fred Kogel (8 December 1988).
4494:Lawrence, Tim (14 June 2005).
3831:Trask, Simon (December 1988).
3676:
3667:
3658:
3523:
3502:
2979:voices. This syncopated-feel (
2735:'s "proto-techno masterpiece"
2633:Early use of the term 'Techno'
2627:
2291:
1942:Although eclipsed by Germany,
1915:, launched the techno imprint
1397:to categorize artists such as
1189:The New Dance Sound of Detroit
865:
773:
347:Electronic musical instruments
13:
1:
10417:Electronic dance music genres
10307:Electronic musical instrument
7137:Emmerson, S. (2007), pp. 115.
6524:Henke, James (12 June 1980).
6079:"Label Profile: Warp Records"
5627:"DMC World – Laurence Malice"
5401:(in German). 26 August 1996.
5267:, TAZ, 10 July 1998, (p. 26).
3457:
3364:Berlin's Berghain techno club
3114:, devices such as the Roland
2781:
2435:
2243:Warp had originally marketed
1742:, and a music channel called
1208:DJ and Kool Kat Records boss
1125:that was used prominently in
1095:
1030:in 2017. From left to right:
713:and the producer's own album
515:resulted from the melding of
7750:, Routledge, New York 1999 (
7432:Gray, Carmen (29 May 2019).
5738:. Overload Media/Spannered.
5597:"Resident Advisor: Sub Club"
5112:Tanzhouse Acid House Special
3183:
2762:Around 1983, Sheffield band
2372:Castlemorton Common Festival
2015:and Tresor-affiliated label
1331:we got the best of the best.
1180:, and a media storm ensued.
593:and others is viewed as the
7:
7758:); Soft Skull Press, 2012 (
7409:. djmag.com. Archived from
7405:DJ Mag (20 December 2017).
7207:, pp.243–67. London: Verso.
6702:"Donna Summer: I Feel Love"
5585:. No. 161. p. 21.
5152:, No.2, 2002, (p. 132–135).
4657:Music USA: The Rough Guide,
4475:numerous other compilations
3987:"A Brief History of Techno"
3690:, Serpent's Tail, (p. 215).
3603:Bogdanov, Vladimir (2001).
3445:
3328:, discuss the issue on the
2877:music production technology
2844:In general, techno is very
2741:(1981). The Eurodisco song
2715:, New Order, Depeche Mode,
2670:reviewed the Canadian band
2234:, which became a milestone
1200:The mid-1988 UK release of
492:music production technology
10:
10448:
8080:
7790:The Hacienda Must Be Built
7473:, Hamburg: Rowohlt, 1999 (
6956:magazine in November 1995.
6567:Sicko, Dan (1 July 1994).
6047:, Issue #131 (January '95)
5904:. Submerge. Archived from
5344:"Der pure Sex. Nur besser"
4811:Chin, Brian (March 1990).
4437:Best of House Music Vol. 3
4411:100% House Classics Vol. 1
4251:"Model 500:Remake/remodel"
3866:. Toronto, ON: ECW Press.
3064:digital audio workstations
2875:, and the creative use of
2711:synth-pop artists such as
2439:
2295:
2249:electronic listening music
2167:
2109:
2049:
1977:which opened its doors to
1522:Growth of the German scene
1346:
1319:crowd on Saturday nights.
1226:The House Sound of Detroit
1204:, an album compiled by ex-
1193:
1099:
959:
955:
869:
666:
660:
482:in developing distinctive
438:digital audio workstations
125:Mid-1980s, United States (
36:
29:
10329:Electronics in rock music
10290:Digital audio workstation
10272:
10187:
10046:
10039:
9999:
9768:
9479:
8926:
8639:
8503:
8418:
8311:
8297:
8280:
8171:
8088:
7896:, Serpent's Tail, 2001 (
7880:. London: Equinox. 2009.
7842:Rave Culture and Religion
7809:, Billboard Books, 1999 (
7775:, Faber and Faber, 2013 (
7293:10.1007/978-3-322-83316-7
7287:(in German). p. 85.
7203:, in George McKay (ed.),
7148:Contemporary Music Review
7025:magazine in November 1998
6931:12 Who Count: Juan Atkins
6122:remnants of the original
6098:, Routledge, 1999. p 155.
5772:"Techno Dances With Jazz"
5393:"Youth: Love and Cabbage"
4923:. Fantazia Rave Archive.
4570:Jimmy Jam and Terry Lewis
4358:. London. pp. 80–83.
3837:Music Technology Magazine
3743:"Eat Static is bad stuff"
3238:practices: for instance,
2835:Music production practice
2543:during a live performance
785:Midnight Funk Association
478:are uncommon. The use of
459:instruments are popular.
342:
337:
330:
325:
307:
302:
229:
224:
171:
166:
145:
121:
55:
50:
10432:American styles of music
7634:, Smallfry Press, 2000 (
7558:, Serpent's Tail, 1998 (
6857:Fikentscher, K. (1991),
6526:"Yellow Magic Orchestra"
5661:album details at Discogs
5165:Ertl, Christian (2010).
4712:Fikentscher, K. (2000),
4154:Adding to the impact of
3011:compositional techniques
2987:Compositional techniques
2848:-friendly, being mainly
2840:Stylistic considerations
2374:for 5 days of partying.
1911:, with business partner
1730:, with its record label
1663:from Playhouse records (
1393:started to use the term
876:Cybotron (American band)
845:Despite the short-lived
597:of techno from Detroit.
397:for use in a continuous
30:Not to be confused with
10237:Progressive electronica
9277:Intelligent dance music
8405:Sound system (Jamaican)
7733:, Pan Macmillan, 1998 (
7651:, Quartet Books, 1998 (
7488:Techno: The Rough Guide
7229:One year of DIY Culture
7117:Living Electronic Music
7002:magazine in August 1997
6892:Butler 2006:208–209,214
6317:"Miss E...So Addictive"
6236:Music and Technoculture
6126:built up a neomedieval
6059:Artificial Intelligence
5736:"Robert Hood interview"
5443:Reynolds 1999:219–222.
4815:. Profile Records, Inc.
4398:House Classics Vol. One
4016:Shapiro, Peter (2000).
3080:algorithmic composition
2797:Manhattan Research Inc.
2270:Intelligent Dance Music
2245:Artificial Intelligence
2232:Artificial Intelligence
2223:Artificial Intelligence
2170:Intelligent dance music
1965:In the United Kingdom,
1516:Fall of the Berlin Wall
755:" (1979), a tribute to
577:(collectively known as
451:are highly prized, and
10427:German styles of music
10391:boom in North America.
8558:List of hip hop genres
8284:Electronic dance music
8045:Techno from past years
7575:(97), p.88, May 1988 (
7490:, Rough Guides, 2000 (
7318:"The Month In: Techno"
7086:magazine in March 2001
7073:REASONS TO BE CHEERFUL
6221:Computer Music Journal
4921:"DJ Derek May Profile"
4686:. 1997. Archived from
4496:"Acid? Can You Jack? (
4092:Sicko 1999:33–42,54–59
3894:Red Bull Music Academy
3375:KW – Das Heizkraftwerk
3365:
3226:Technological advances
3168:
3103:
3050:, sequencer, effects,
2996:
2928:is marked with kicks (
2860:or "mix." Much of the
2799:compilation album the
2660:Rolling Stone Magazine
2585:Miss E... So Addictive
2544:
2327:
2247:using the description
2241:
2138:Underground Resistance
2128:(UK)-based techno act
2103:
2061:
1829:Underground Resistance
1653:Force Inc. Music Works
1628:
1595:Underground Resistance
1535:
1446:Frankfurt tape scene.
1386:
1333:
1254:
1130:
1070:
1042:
1028:Detroit Masonic Temple
992:
953:
886:honored him as one of
843:
743:, particularly member
741:Yellow Magic Orchestra
727:, Giorgio Moroder and
529:Yellow Magic Orchestra
422:electronic instruments
391:electronic dance music
37:For the YouTuber, see
8720:Electronic body music
8368:Electroacoustic music
7115:Emmerson, S. (2007),
6979:magazine in May 1997.
6606:Brewster 2006:343–346
6569:"The Roots of Techno"
6151:St. John 2001:100–101
6033:New Complexity Techno
5967:28 April 2008 at the
5854:Discotheque: Haçienda
5846:second Summer of Love
5548:Reynolds 2006:228–229
5257:Eierkuchensozialismus
5205:. pp. 212, 225.
4734:Brewster 2006:398–443
4608:Rietveld 1998:124–127
4450:Best of Techno Vol. 4
4385:Techno Muzik Classics
3901:. 20 September 2010.
3862:Silcott, M. (1999).
3747:Central Michigan Life
3363:
3297:Notable techno venues
3163:
3093:
2994:
2888:synthesizer keyboards
2823:, of the dance group
2539:
2463:to techno and house.
2325:
2282:Black Dog Productions
2228:
2120:Musical improvisation
2094:
2059:
1623:
1603:electronic body music
1567:(1992–1996), and the
1529:
1508:Danielle de Picciotto
1376:
1365:Electronic body music
1324:
1238:
1123:bass line synthesizer
1117:
1110:Second Summer of Love
1090:Second Summer of Love
1059:
1022:
987:
948:
903:Atkins used the term
827:
811:Parliament Funkadelic
799:The Electrifying Mojo
43:Fixer (Marvel Comics)
10017:Hyperpop microgenres
8681:Contemporary R&B
7199:Rietveld, H (1998),
6848:Butler 2006:12–13,94
6437:McGarvey, Sterling.
6289:Guiccione, Bob Jr.,
5939:. 13 February 2003.
5863:15 June 2006 at the
5852:Lawrence, T (2006),
5254:Messmer, S. (1998),
5010:Horst, Dirk (1974).
4859:Savage, Jon (1993).
4057:Reynolds 1999:16–17.
3393:Institut für Zukunft
3326:improve this section
3316:may not represent a
2187:or Detroit inspired
1754:Tekkno versus techno
1597:and Richie Hawtin's
1540:German reunification
1510:organized the first
1495:(1983–1989) and the
1441:Frankfurt tape scene
1024:The Belleville Three
825:. Atkins has noted:
579:The Belleville Three
9627:Mainstream hardcore
9001:Chopped and screwed
8390:Elektronische Musik
8344:List of rock genres
8275:-based music styles
7858:St. John, G.(ed.),
7839:St. John, G.(ed.).
7356:. 30 January 2017.
7186:St. John, G.(ed.),
7012:THE COOL OF REBIRTH
6634:Metro Times Detroit
6116:Reynolds 1999:163.
5816:A Guy Called Gerald
5423:Reynolds 1999:131.
5086:. 15 October 2019.
4743:Brewster 2006:419.
4725:Rietveld 1998:54–59
4690:on 14 February 2004
4536:Rietveld 1998:40–50
4335:on 18 December 2008
3722:on 20 December 2014
3236:musical performance
3078:, where aspects of
2908:AABA song structure
2900:motivic development
2705:Alexander Robotnick
2532:Commercial exposure
1956:harder-edged techno
1240:I was working with
813:and dance oriented
747:, and British band
519:by artists such as
453:software emulations
393:which is generally
10412:Culture of Detroit
10372:Generation Ecstasy
9836:Kawaii future bass
9816:Deconstructed club
8969:Breakbeat hardcore
8861:Martial industrial
8851:Industrial hip hop
8732:Ethnic electronica
8715:Electro-industrial
8039:Sounds Like Techno
7993:2016-01-28 at the
7972:2015-01-25 at the
7966:We Call It Techno!
7957:2016-06-23 at the
7942:2013-12-08 at the
7687:2015-01-01 at the
7604:2008-05-04 at the
7594:Cosgrove, S. (b),
7585:2009-02-10 at the
7439:The New York Times
7413:on 18 January 2018
7256:2007-09-09 at the
7235:2005-12-06 at the
7222:2008-03-06 at the
7102:2016-07-16 at the
7078:2005-09-21 at the
7017:2015-06-08 at the
6994:2015-06-08 at the
6971:2015-06-06 at the
6948:2007-01-27 at the
6298:2023-04-11 at the
6272:2023-04-03 at the
6096:Living Through Pop
6065:2008-02-24 at the
6039:2008-01-01 at the
5994:Sicko 2010:138–139
5982:2024-05-24 at the
5834:Marshall Jefferson
5720:2012-09-08 at the
5704:Sicko 1999:199–200
5657:2008-12-20 at the
5534:Sicko 1999:161–184
5522:Sicko 1999:121–160
5315:Schuler, M.(1995),
5262:2022-01-02 at the
5071:We Call It Techno!
5018:] (in German).
4954:Sicko 1999:100,102
4898:Sicko 2010:118–120
4630:Dance Music Report
4480:2009-01-26 at the
4468:2007-12-24 at the
4455:2007-11-22 at the
4442:2008-01-08 at the
4429:2008-02-27 at the
4416:2008-02-25 at the
4403:2008-02-26 at the
4390:2008-03-07 at the
4377:2008-04-30 at the
4077:Generation Ecstasy
3966:on 12 October 2007
3843:on March 15, 2008.
3700:"Detroit techno".
3627:on 28 January 2016
3586:Reynolds 1999:71.
3490:on 5 November 2012
3366:
3104:
3098:was, according to
3052:dynamic processing
2997:
2686:The popularity of
2597:Generation Ecstasy
2545:
2500:and house music),
2344:new age travellers
2328:
2253:intelligent techno
2207:breakbeat hardcore
2202:intelligent techno
2193:intelligent techno
2164:Intelligent techno
2062:
1629:
1536:
1491:at this time, the
1387:
1131:
1043:
1026:performing at the
420:. Artists may use
32:(free) tekno music
10361:
10360:
10357:
10356:
10285:Data sonification
10035:
10034:
10022:Plugg microgenres
10007:Breakcore revival
9972:Slowed and reverb
9652:Post-punk revival
9353:Progressive house
9272:Industrial techno
8944:Asian underground
8876:Power electronics
8652:Alternative dance
8511:Afro/cosmic music
8466:Psychedelic music
8239:
8238:
8138:Industrial techno
7886:978-1-84553-626-8
7541:, Ashgate, 2003 (
7302:978-3-531-13228-0
7049:Rebirthmuseum.com
6798:on 13 August 2007
6676:978-1-4724-7962-4
6618:Reynolds 1999:190
6329:on 2 January 2010
6315:Cinquemani, Sal.
6107:Reynolds 1999:181
6077:Birke S. (2007),
6021:Reynolds 1999:182
6012:Reynolds 1999:183
6003:Brewster 2006:364
5557:Reynolds 1999:215
5513:Reynolds 1999:219
5332:Reynolds 1999:110
5317:Gabber + Hardcore
5297:Reynolds 1999:112
5279:Brewster 2006:361
5180:978-3-86906-100-9
4966:Sicko 1999:95–120
4945:Sicko 1999:98,101
4865:The Village Voice
4617:Rietveld 1998:127
4524:Brewster 2006:353
4295:on Apr 11, 2023.
4119:Keyboard Magazine
4048:Brewster 2006:350
3878:Brewster 2006:349
3704:(231). July 1995.
3702:Keyboard Magazine
3686:Toop, D. (1995),
3664:Rietveld 1998:125
3570:Brewster 2006:354
3476:(6 August 2002).
3421:Offenbach am Main
3358:
3357:
3350:
3276:packages such as
3204:Keyboard Magazine
3068:signal processing
3013:, may work in an
2917:(4/4); meaning 4
2892:harmonic practice
2757:Jean-Marc Cerrone
2733:Manuel Göttsching
2709:Claudio Simonetti
2603:) and Dan Sicko (
2354:, Smokescreen in
2068:(a term producer
2019:had its releases
2013:Moritz Von Oswald
1986:A Techno Alliance
1923:, Lenny Dee, and
1681:Frankfurt airport
1561:(1991–1993), the
1557:(est. 1991), the
1546:. East German DJ
1137:based around the
1067:Juan Atkins, 1988
883:Keyboard Magazine
415:four on the floor
380:
379:
211:industrial techno
153:Alternative dance
56:Stylistic origins
16:(Redirected from
10439:
10392:
10385:
10379:
10369:
10257:Video game music
10106:Acid house party
10044:
10043:
9991:Weird SoundCloud
9878:Melbourne bounce
9696:Shangaan electro
9257:Harsh noise wall
9016:Digital hardcore
8856:Industrial metal
8476:Psychedelic rock
8471:Psychedelic funk
8461:Progressive rock
8395:Live electronics
8378:Musique concrète
8373:Acousmatic music
8319:Amplified guitar
8309:
8308:
8304:decade of origin
8266:
8259:
8252:
8243:
8242:
8106:Birmingham sound
8075:
8068:
8061:
8052:
8051:
8027:Techno Live Sets
8009:
8008:Universal Techno
7922:
7905:
7873:
7854:
7835:
7818:
7801:
7784:
7767:
7742:
7725:
7712:Rietveld, H.C.,
7708:
7677:
7660:
7643:
7626:
7609:
7590:
7567:
7550:
7533:
7516:
7499:
7482:
7456:
7455:
7453:
7451:
7429:
7423:
7422:
7420:
7418:
7402:
7396:
7395:
7393:
7391:
7376:
7370:
7369:
7367:
7365:
7354:Electronic Beats
7346:
7340:
7339:
7337:
7335:
7313:
7307:
7306:
7280:
7274:
7267:
7261:
7245:
7239:
7214:
7208:
7197:
7191:
7184:
7178:
7176:
7174:
7172:
7163:. Archived from
7157:
7151:
7144:
7138:
7135:
7129:
7126:
7120:
7113:
7107:
7093:
7087:
7070:
7064:
7063:
7061:
7060:
7041:
7035:
7032:
7026:
7009:
7003:
6986:
6980:
6963:
6957:
6940:
6934:
6927:
6921:
6911:
6902:
6899:
6893:
6890:
6884:
6881:
6875:
6868:
6862:
6855:
6849:
6846:
6840:
6839:
6837:
6835:
6815:
6809:
6807:
6805:
6803:
6788:
6782:
6781:
6779:
6777:
6757:
6751:
6750:
6748:
6746:
6733:
6727:
6724:
6718:
6717:
6715:
6713:
6698:
6692:
6691:
6689:
6688:
6656:
6650:
6649:
6647:
6645:
6625:
6619:
6616:
6607:
6604:
6598:
6597:Sicko 1999:45–49
6595:
6589:
6588:
6586:
6584:
6564:
6558:
6554:
6548:
6547:
6545:
6543:
6521:
6515:
6514:
6512:
6511:
6496:
6490:
6487:
6481:
6480:
6475:. Archived from
6464:
6458:
6457:
6455:
6454:
6445:. Archived from
6434:
6425:
6424:
6422:
6420:
6405:
6399:
6398:
6393:
6391:
6376:
6370:
6369:
6367:
6365:
6348:Gorell, Robert.
6345:
6339:
6338:
6336:
6334:
6325:. Archived from
6312:
6306:
6287:
6281:
6261:
6255:
6254:
6230:
6224:
6217:
6211:
6205:
6199:
6192:
6186:
6185:
6183:
6181:
6158:
6152:
6149:
6136:
6114:
6108:
6105:
6099:
6088:
6082:
6075:
6069:
6054:
6048:
6028:
6022:
6019:
6013:
6010:
6004:
6001:
5995:
5992:
5986:
5959:
5953:
5952:
5950:
5948:
5933:
5927:
5917:
5915:
5913:
5898:
5892:
5889:
5880:
5873:
5867:
5814:Gerald Simpson (
5812:
5806:
5803:
5797:
5791:
5789:
5787:
5767:
5761:
5758:
5752:
5751:
5749:
5747:
5731:
5725:
5711:
5705:
5702:
5696:
5695:
5693:
5691:
5671:
5662:
5649:
5643:
5642:
5640:
5638:
5623:
5617:
5616:
5614:
5612:
5603:. 2 March 2018.
5601:Resident Advisor
5593:
5587:
5586:
5576:
5567:
5564:
5558:
5555:
5549:
5546:
5535:
5532:
5523:
5520:
5514:
5511:
5505:
5504:
5503:
5501:
5469:
5463:
5460:
5451:
5441:
5435:
5421:
5415:
5414:
5412:
5410:
5389:
5383:
5372:
5366:
5365:
5363:
5361:
5339:
5333:
5330:
5324:
5313:
5307:
5304:
5298:
5295:
5289:
5286:
5280:
5277:
5268:
5252:
5246:
5245:
5243:
5242:
5231:Electronic Beats
5223:
5217:
5216:
5194:
5185:
5184:
5162:
5153:
5146:
5133:
5132:
5130:
5128:
5106:
5100:
5099:
5097:
5095:
5080:
5074:
5067:
5050:
5049:
5047:
5045:
5029:
5020:
5019:
5007:
4998:
4997:Sicko 1999:92–94
4995:
4984:
4975:Sicko 1999:102.
4973:
4967:
4964:
4955:
4952:
4946:
4943:
4937:
4936:
4934:
4932:
4917:
4908:
4905:
4899:
4896:
4887:
4879:
4877:
4876:
4856:
4850:
4849:
4847:
4845:
4829:
4820:
4816:
4808:
4802:
4801:
4799:
4797:
4782:
4776:
4773:
4762:
4757:Cosgrove 1988a.
4755:
4749:
4741:
4735:
4732:
4726:
4723:
4717:
4706:
4700:
4699:
4697:
4695:
4674:
4668:
4653:
4647:
4646:
4624:
4618:
4615:
4609:
4606:
4600:
4595:Cosgrove 1988b.
4593:
4582:
4565:Cosgrove 1988a.
4563:
4552:
4548:Cosgrove 1988a.
4546:
4537:
4534:
4525:
4522:
4516:
4515:
4513:
4511:
4506:on 21 March 2008
4502:. Archived from
4491:
4485:
4367:
4361:
4359:
4351:
4345:
4344:
4342:
4340:
4322:
4313:
4312:Sicko 1999:77–78
4310:
4304:
4303:
4291:. Archived from
4279:
4273:
4272:
4267:
4266:
4255:Resident Advisor
4249:Cox, T. (2008).
4245:
4239:
4236:
4230:
4227:
4221:
4220:Sicko 2010:48–49
4218:
4212:
4209:
4203:
4192:
4186:
4185:
4183:
4181:
4166:
4160:
4150:
4144:
4139:Cosgrove 1988b.
4137:
4131:
4128:
4122:
4116:
4110:
4099:
4093:
4090:
4084:
4073:
4067:
4066:Sicko 1999:56–58
4064:
4058:
4055:
4049:
4046:
4040:
4039:
4023:
4013:
4007:
4006:
4004:
4002:
3982:
3976:
3975:
3973:
3971:
3956:
3950:
3949:
3947:
3946:
3930:
3924:
3921:
3915:
3914:
3912:
3910:
3885:
3879:
3876:
3867:
3860:
3854:
3851:
3845:
3844:
3839:. Archived from
3828:
3813:
3810:
3801:
3792:
3784:
3778:
3777:
3774:The Miami Herald
3769:
3763:
3762:
3760:
3758:
3749:. Archived from
3738:
3732:
3731:
3729:
3727:
3712:
3706:
3705:
3697:
3691:
3680:
3674:
3671:
3665:
3662:
3656:
3655:
3647:Kevin Saunderson
3634:
3632:
3623:. Archived from
3600:
3594:
3590:Belleville Three
3584:
3571:
3568:
3559:
3527:
3521:
3506:
3500:
3499:
3497:
3495:
3486:. Archived from
3474:Carpenter, Susan
3470:
3377:
3353:
3346:
3342:
3339:
3333:
3309:
3308:
3301:
3086:Retro technology
2965:drum programming
2817:Delia Derbyshire
2809:electronic music
2764:Cabaret Voltaire
2717:The Human League
2694:—referred to as
2599:, also known as
2510:digital hardcore
2237:
2099:
1969:which opened in
1905:Windsor, Ontario
1833:Beyond the Dance
1787:Cabaret Voltaire
1783:Dimitri Hegemann
1534:club (1991–2005)
1461:, synth-pop and
1330:
1212:(at the time an
1068:
1036:Kevin Saunderson
1009:Graeme Park (DJ)
983:Frankie Knuckles
925:Afrika Bambaataa
803:electronic music
745:Ryuichi Sakamoto
591:James Pennington
575:Kevin Saunderson
533:African-American
499:electronic music
409:is typically in
186:Birmingham sound
146:Derivative forms
122:Cultural origins
48:
47:
21:
10447:
10446:
10442:
10441:
10440:
10438:
10437:
10436:
10397:
10396:
10395:
10386:
10382:
10370:
10366:
10362:
10353:
10268:
10205:Chill-out music
10183:
10031:
9995:
9764:
9475:
9338:Nu skool breaks
8922:
8635:
8570:Industrial rock
8499:
8441:Electronic rock
8414:
8329:Hawaiian guitar
8302:
8293:
8276:
8270:
8240:
8235:
8167:
8084:
8079:
8023:
8018:
8007:
7995:Wayback Machine
7974:Wayback Machine
7959:Wayback Machine
7944:Wayback Machine
7930:
7925:
7689:Wayback Machine
7606:Wayback Machine
7587:Wayback Machine
7464:
7459:
7449:
7447:
7430:
7426:
7416:
7414:
7403:
7399:
7389:
7387:
7378:
7377:
7373:
7363:
7361:
7348:
7347:
7343:
7333:
7331:
7323:Pitchfork Media
7314:
7310:
7303:
7281:
7277:
7271:Organised Sound
7268:
7264:
7258:Wayback Machine
7246:
7242:
7237:Wayback Machine
7224:Wayback Machine
7215:
7211:
7198:
7194:
7185:
7181:
7170:
7168:
7159:
7158:
7154:
7145:
7141:
7136:
7132:
7127:
7123:
7114:
7110:
7104:Wayback Machine
7094:
7090:
7080:Wayback Machine
7071:
7067:
7058:
7056:
7043:
7042:
7038:
7033:
7029:
7019:Wayback Machine
7010:
7006:
6996:Wayback Machine
6987:
6983:
6973:Wayback Machine
6964:
6960:
6950:Wayback Machine
6941:
6937:
6928:
6924:
6912:
6905:
6900:
6896:
6891:
6887:
6882:
6878:
6869:
6865:
6856:
6852:
6847:
6843:
6833:
6831:
6816:
6812:
6801:
6799:
6790:
6789:
6785:
6775:
6773:
6758:
6754:
6744:
6742:
6735:
6734:
6730:
6725:
6721:
6711:
6709:
6700:
6699:
6695:
6686:
6684:
6677:
6657:
6653:
6643:
6641:
6626:
6622:
6617:
6610:
6605:
6601:
6596:
6592:
6582:
6580:
6565:
6561:
6555:
6551:
6541:
6539:
6522:
6518:
6509:
6507:
6498:
6497:
6493:
6488:
6484:
6479:on 8 July 2011.
6465:
6461:
6452:
6450:
6435:
6428:
6418:
6416:
6407:
6406:
6402:
6389:
6387:
6386:on 11 July 2011
6378:
6377:
6373:
6363:
6361:
6346:
6342:
6332:
6330:
6313:
6309:
6300:Wayback Machine
6288:
6284:
6274:Wayback Machine
6262:
6258:
6251:
6231:
6227:
6218:
6214:
6206:
6202:
6193:
6189:
6179:
6177:
6160:
6159:
6155:
6150:
6139:
6115:
6111:
6106:
6102:
6089:
6085:
6076:
6072:
6067:Wayback Machine
6055:
6051:
6041:Wayback Machine
6029:
6025:
6020:
6016:
6011:
6007:
6002:
5998:
5993:
5989:
5984:Wayback Machine
5969:Wayback Machine
5962:Angelic Upstart
5960:
5956:
5946:
5944:
5935:
5934:
5930:
5924:Galaxy 2 Galaxy
5920:Nation 2 Nation
5911:
5909:
5900:
5899:
5895:
5890:
5883:
5874:
5870:
5865:Wayback Machine
5858:authors website
5813:
5809:
5804:
5800:
5785:
5783:
5768:
5764:
5759:
5755:
5745:
5743:
5732:
5728:
5722:Wayback Machine
5712:
5708:
5703:
5699:
5689:
5687:
5672:
5665:
5659:Wayback Machine
5650:
5646:
5636:
5634:
5625:
5624:
5620:
5610:
5608:
5595:
5594:
5590:
5577:
5570:
5565:
5561:
5556:
5552:
5547:
5538:
5533:
5526:
5521:
5517:
5512:
5508:
5499:
5497:
5490:
5470:
5466:
5461:
5454:
5442:
5438:
5422:
5418:
5408:
5406:
5391:
5390:
5386:
5373:
5369:
5359:
5357:
5340:
5336:
5331:
5327:
5314:
5310:
5305:
5301:
5296:
5292:
5287:
5283:
5278:
5271:
5264:Wayback Machine
5253:
5249:
5240:
5238:
5225:
5224:
5220:
5213:
5195:
5188:
5181:
5163:
5156:
5147:
5136:
5126:
5124:
5108:
5107:
5103:
5093:
5091:
5082:
5081:
5077:
5068:
5053:
5043:
5041:
5030:
5023:
5008:
5001:
4996:
4987:
4974:
4970:
4965:
4958:
4953:
4949:
4944:
4940:
4930:
4928:
4919:
4918:
4911:
4906:
4902:
4897:
4890:
4874:
4872:
4857:
4853:
4843:
4841:
4840:on 23 June 2011
4830:
4823:
4809:
4805:
4795:
4793:
4788:. discogs.com.
4784:
4783:
4779:
4774:
4765:
4756:
4752:
4742:
4738:
4733:
4729:
4724:
4720:
4707:
4703:
4693:
4691:
4676:
4675:
4671:
4654:
4650:
4625:
4621:
4616:
4612:
4607:
4603:
4594:
4585:
4564:
4555:
4547:
4540:
4535:
4528:
4523:
4519:
4509:
4507:
4492:
4488:
4482:Wayback Machine
4470:Wayback Machine
4457:Wayback Machine
4444:Wayback Machine
4431:Wayback Machine
4424:Classic House 2
4418:Wayback Machine
4405:Wayback Machine
4392:Wayback Machine
4379:Wayback Machine
4368:
4364:
4352:
4348:
4338:
4336:
4323:
4316:
4311:
4307:
4280:
4276:
4264:
4262:
4246:
4242:
4238:Nelson 2001:154
4237:
4233:
4228:
4224:
4219:
4215:
4210:
4206:
4193:
4189:
4179:
4177:
4168:
4167:
4163:
4152:Sicko 1999:75.
4151:
4147:
4138:
4134:
4129:
4125:
4117:
4113:
4100:
4096:
4091:
4087:
4074:
4070:
4065:
4061:
4056:
4052:
4047:
4043:
4036:
4014:
4010:
4000:
3998:
3983:
3979:
3969:
3967:
3958:
3957:
3953:
3944:
3942:
3931:
3927:
3922:
3918:
3908:
3906:
3887:
3886:
3882:
3877:
3870:
3861:
3857:
3852:
3848:
3829:
3816:
3811:
3804:
3785:
3781:
3770:
3766:
3756:
3754:
3739:
3735:
3725:
3723:
3714:
3713:
3709:
3699:
3698:
3694:
3681:
3677:
3672:
3668:
3663:
3659:
3630:
3628:
3621:
3613:. p. 582.
3601:
3597:
3585:
3574:
3569:
3562:
3528:
3524:
3507:
3503:
3493:
3491:
3471:
3464:
3460:
3448:
3373:
3354:
3343:
3337:
3334:
3323:
3310:
3306:
3299:
3228:
3186:
3088:
3001:step sequencing
2989:
2862:instrumentation
2842:
2837:
2805:The Independent
2784:
2753:Love in C minor
2698:in Detroit—and
2684:
2664:Ikue Sakakibara
2635:
2630:
2534:
2444:
2438:
2320:
2294:
2180:
2166:
2154:Galaxy 2 Galaxy
2142:Nation 2 Nation
2122:
2108:
2106:Jazz influences
2054:
2048:
2009:Thomas Fehlmann
1989:
1952:R&S Records
1869:
1867:American exodus
1851:, Germany, the
1845:Network Records
1820:
1756:
1720:came together.
1673:Torsten Fenslau
1524:
1471:
1443:
1431:Jürgen Laarmann
1371:
1357:Hardcore techno
1345:
1305:
1303:Music Institute
1282:Top of the Pops
1198:
1192:
1147:Alfredo Fiorito
1112:
1098:
1086:Strings of Life
1069:
1066:
1017:
972:Strings of Life
968:
958:
878:
870:Main articles:
868:
807:Tangerine Dream
776:
768:science fiction
707:Giorgio Moroder
687:
669:Electro (music)
665:
659:
553:science-fiction
525:Giorgio Moroder
480:sound synthesis
468:musical aspects
376:
321:
303:Regional scenes
298:
220:
206:hardcore techno
162:
117:
46:
35:
28:
23:
22:
15:
12:
11:
5:
10445:
10435:
10434:
10429:
10424:
10419:
10414:
10409:
10394:
10393:
10380:
10363:
10359:
10358:
10355:
10354:
10352:
10351:
10346:
10341:
10336:
10331:
10326:
10325:
10324:
10319:
10314:
10304:
10303:
10302:
10292:
10287:
10282:
10276:
10274:
10270:
10269:
10267:
10266:
10265:
10264:
10262:Adaptive music
10254:
10249:
10244:
10239:
10234:
10229:
10224:
10219:
10214:
10213:
10212:
10202:
10197:
10191:
10189:
10185:
10184:
10182:
10181:
10180:
10179:
10174:
10164:
10163:
10162:
10157:
10152:
10150:Plunderphonics
10142:
10137:
10136:
10135:
10134:
10133:
10123:
10118:
10113:
10108:
10098:
10093:
10088:
10083:
10082:
10081:
10076:
10071:
10061:
10056:
10050:
10048:
10041:
10037:
10036:
10033:
10032:
10030:
10029:
10024:
10019:
10014:
10009:
10003:
10001:
9997:
9996:
9994:
9993:
9988:
9987:
9986:
9976:
9975:
9974:
9969:
9964:
9954:
9952:Tropical house
9949:
9944:
9939:
9934:
9929:
9928:
9927:
9925:Riddim (genre)
9922:
9912:
9907:
9905:Outsider house
9902:
9897:
9896:
9895:
9890:
9880:
9875:
9870:
9865:
9860:
9855:
9850:
9845:
9840:
9839:
9838:
9828:
9823:
9818:
9813:
9808:
9806:Brazilian bass
9803:
9798:
9796:Big room house
9793:
9788:
9783:
9778:
9772:
9770:
9766:
9765:
9763:
9762:
9757:
9752:
9747:
9745:Vocaloid music
9742:
9741:
9740:
9730:
9725:
9720:
9715:
9714:
9713:
9703:
9698:
9693:
9688:
9683:
9682:
9681:
9676:
9666:
9661:
9660:
9659:
9649:
9644:
9639:
9634:
9629:
9624:
9619:
9614:
9609:
9608:
9607:
9602:
9595:Hypnagogic pop
9592:
9587:
9586:
9585:
9575:
9570:
9565:
9564:
9563:
9558:
9553:
9543:
9542:
9541:
9531:
9526:
9525:
9524:
9514:
9509:
9504:
9499:
9494:
9489:
9483:
9481:
9477:
9476:
9474:
9473:
9472:
9471:
9466:
9456:
9455:
9454:
9449:
9444:
9434:
9433:
9432:
9427:
9422:
9417:
9412:
9407:
9402:
9397:
9392:
9387:
9382:
9372:
9371:
9370:
9360:
9355:
9350:
9345:
9340:
9335:
9330:
9329:
9328:
9318:
9317:
9316:
9309:Minimal techno
9306:
9301:
9296:
9291:
9286:
9285:
9284:
9282:Drill 'n' bass
9274:
9269:
9264:
9259:
9254:
9253:
9252:
9247:
9242:
9237:
9236:
9235:
9233:Lento violento
9225:
9220:
9215:
9210:
9205:
9200:
9198:Belgian techno
9190:
9185:
9184:
9183:
9178:
9168:
9163:
9158:
9157:
9156:
9146:
9141:
9136:
9131:
9126:
9125:
9124:
9123:
9122:
9117:
9112:
9107:
9099:
9098:
9097:
9087:
9086:
9085:
9080:
9075:
9070:
9057:
9056:
9055:
9050:
9045:
9035:
9034:
9033:
9023:
9018:
9013:
9008:
9003:
8998:
8993:
8988:
8987:
8986:
8984:Toytown techno
8981:
8979:Happy hardcore
8976:
8966:
8961:
8956:
8951:
8949:Baltimore club
8946:
8941:
8939:Ambient techno
8936:
8930:
8928:
8924:
8923:
8921:
8920:
8915:
8914:
8913:
8911:Detroit techno
8908:
8903:
8893:
8888:
8883:
8878:
8873:
8868:
8863:
8858:
8853:
8848:
8847:
8846:
8841:
8836:
8831:
8826:
8821:
8816:
8811:
8806:
8801:
8796:
8791:
8786:
8776:
8771:
8766:
8761:
8760:
8759:
8754:
8749:
8744:
8739:
8729:
8724:
8723:
8722:
8712:
8711:
8710:
8700:
8695:
8690:
8689:
8688:
8686:New jack swing
8678:
8677:
8676:
8674:Florida breaks
8666:
8661:
8660:
8659:
8649:
8643:
8641:
8637:
8636:
8634:
8633:
8628:
8623:
8622:
8621:
8616:
8611:
8601:
8600:
8599:
8594:
8589:
8579:
8574:
8573:
8572:
8562:
8561:
8560:
8550:
8545:
8540:
8535:
8530:
8525:
8520:
8519:
8518:
8507:
8505:
8501:
8500:
8498:
8497:
8496:
8495:
8485:
8484:
8483:
8478:
8473:
8463:
8458:
8453:
8448:
8443:
8438:
8433:
8428:
8422:
8420:
8416:
8415:
8413:
8412:
8407:
8402:
8397:
8392:
8387:
8386:
8385:
8380:
8375:
8365:
8363:Computer music
8360:
8355:
8354:
8353:
8348:
8347:
8346:
8336:
8331:
8326:
8324:Electric blues
8315:
8313:
8306:
8295:
8294:
8281:
8278:
8277:
8269:
8268:
8261:
8254:
8246:
8237:
8236:
8234:
8233:
8228:
8223:
8218:
8213:
8208:
8203:
8202:
8201:
8196:
8186:
8181:
8175:
8173:
8169:
8168:
8166:
8165:
8163:Toytown techno
8160:
8155:
8150:
8145:
8143:Minimal techno
8140:
8135:
8134:
8133:
8123:
8118:
8116:Detroit techno
8113:
8108:
8103:
8101:Ambient techno
8098:
8092:
8090:
8086:
8085:
8078:
8077:
8070:
8063:
8055:
8049:
8048:
8042:
8036:
8030:
8022:
8021:External links
8019:
8017:
8016:
8004:
7983:
7977:
7962:
7947:
7936:High Tech Soul
7931:
7929:
7926:
7924:
7923:
7919:978-0819566102
7906:
7902:978-1852427436
7894:Ocean of Sound
7889:
7874:
7870:978-1863350846
7855:
7851:978-0415314497
7836:
7832:978-0814334386
7819:
7815:978-0823084289
7802:
7798:978-0863598579
7785:
7781:978-0571289134
7771:Reynolds, S.,
7768:
7764:978-1593764074
7756:978-0415923736
7746:Reynolds, S.,
7743:
7739:978-0330350563
7729:Reynolds, S.,
7726:
7722:978-1857422429
7709:
7705:978-3283002909
7692:
7678:
7674:978-0814736043
7661:
7657:978-0704380257
7644:
7640:978-0968572108
7627:
7623:978-0826416155
7610:
7591:
7568:
7564:978-1852426040
7551:
7547:978-0754608493
7534:
7530:978-0253218049
7520:Butler, M.J.,
7517:
7513:978-0802136886
7500:
7496:978-1858284347
7483:
7465:
7463:
7460:
7458:
7457:
7424:
7397:
7371:
7341:
7308:
7301:
7275:
7262:
7240:
7209:
7192:
7179:
7152:
7139:
7130:
7121:
7108:
7088:
7084:Sound on Sound
7065:
7036:
7027:
7023:Sound on Sound
7004:
7000:Sound on Sound
6981:
6977:Sound on Sound
6958:
6954:Sound on Sound
6935:
6922:
6903:
6901:Butler 2006:94
6894:
6885:
6876:
6863:
6850:
6841:
6810:
6783:
6752:
6728:
6719:
6693:
6675:
6651:
6620:
6608:
6599:
6590:
6559:
6549:
6516:
6491:
6482:
6459:
6443:Lunar Magazine
6426:
6400:
6371:
6340:
6322:Slant Magazine
6307:
6282:
6256:
6249:
6225:
6212:
6207:Cox 2004:414.
6200:
6187:
6153:
6137:
6124:counterculture
6109:
6100:
6083:
6070:
6049:
6023:
6014:
6005:
5996:
5987:
5954:
5928:
5908:on 5 July 2008
5893:
5891:Kodwo 1998:127
5881:
5868:
5807:
5805:Sicko 1999:198
5798:
5794:Kirk Degiorgio
5776:New York Times
5762:
5753:
5726:
5706:
5697:
5663:
5644:
5618:
5588:
5568:
5566:Sicko 2010:181
5559:
5550:
5536:
5524:
5515:
5506:
5489:978-0313341991
5488:
5464:
5452:
5436:
5416:
5384:
5376:Mille Plateaux
5367:
5334:
5325:
5308:
5306:Sicko 1999:145
5299:
5290:
5281:
5269:
5247:
5233:. 2014-06-20.
5218:
5212:978-3936738476
5211:
5186:
5179:
5154:
5134:
5101:
5075:
5051:
5021:
4999:
4985:
4968:
4956:
4947:
4938:
4909:
4900:
4888:
4851:
4821:
4803:
4777:
4763:
4750:
4736:
4727:
4718:
4701:
4669:
4648:
4619:
4610:
4601:
4583:
4553:
4538:
4526:
4517:
4486:
4362:
4346:
4314:
4305:
4274:
4240:
4231:
4229:Butler 2006:43
4222:
4213:
4204:
4187:
4161:
4145:
4132:
4123:
4111:
4094:
4085:
4068:
4059:
4050:
4041:
4034:
4008:
3977:
3951:
3925:
3916:
3880:
3868:
3855:
3846:
3833:"Future Shock"
3814:
3812:Kodwo 1998:100
3802:
3779:
3764:
3753:on 24 May 2016
3733:
3707:
3692:
3688:Ocean of Sound
3675:
3666:
3657:
3651:The Third Wave
3619:
3611:Backbeat Books
3609:(4 ed.).
3595:
3572:
3560:
3558:
3557:
3551:
3545:
3539:
3522:
3501:
3461:
3459:
3456:
3455:
3454:
3447:
3444:
3417:Robert Johnson
3356:
3355:
3320:of the subject
3318:worldwide view
3313:
3311:
3304:
3298:
3295:
3261:microprocessor
3232:music software
3227:
3224:
3200:Sound on Sound
3191:ReBirth RB-338
3185:
3182:
3177:Sound on Sound
3172:Sound on Sound
3158:Sound on Sound
3122:, Kawai KC10,
3087:
3084:
3028:MIDI sequencer
2988:
2985:
2841:
2838:
2836:
2833:
2783:
2780:
2683:
2680:
2654:(1981), and a
2634:
2631:
2629:
2626:
2593:Simon Reynolds
2578:' receiving a
2533:
2530:
2518:no-beat techno
2516:and so-called
2437:
2434:
2414:Eastern Europe
2293:
2290:
2286:Mille Plateaux
2257:ambient techno
2174:ambient techno
2165:
2162:
2107:
2104:
2066:minimal techno
2052:Minimal techno
2050:Main article:
2047:
2046:Minimal techno
2044:
1993:Tresor Records
1988:
1983:
1913:John Acquaviva
1879:, Jay Denham,
1868:
1865:
1849:United Kingdom
1819:
1816:
1755:
1752:
1599:Plus 8 Records
1523:
1520:
1470:
1467:
1442:
1439:
1344:
1341:
1304:
1301:
1297:Virgin Records
1250:Anthony Shakir
1194:Main article:
1191:
1186:
1155:Paul Oakenfold
1151:Danny Rampling
1097:
1094:
1078:George Clinton
1064:
1016:
1013:
997:Mike Pickering
957:
954:
867:
864:
817:by bands like
815:new wave music
775:
772:
699:Rolling Stones
663:Detroit techno
661:Main article:
658:
657:Detroit techno
655:
606:United Kingdom
581:), along with
562:The Third Wave
535:music such as
513:Detroit techno
378:
377:
375:
374:
369:
364:
359:
354:
352:computer music
349:
343:
340:
339:
335:
334:
328:
327:
323:
322:
320:
319:
314:
308:
305:
304:
300:
299:
297:
296:
294:toytown techno
291:
286:
281:
276:
271:
266:
261:
256:
251:
246:
241:
236:
230:
227:
226:
222:
221:
219:
218:
216:minimal techno
213:
208:
203:
198:
196:Detroit techno
193:
188:
183:
181:ambient techno
178:
172:
169:
168:
164:
163:
161:
160:
155:
149:
147:
143:
142:
123:
119:
118:
116:
115:
110:
105:
100:
95:
90:
85:
80:
75:
70:
65:
59:
57:
53:
52:
26:
9:
6:
4:
3:
2:
10444:
10433:
10430:
10428:
10425:
10423:
10420:
10418:
10415:
10413:
10410:
10408:
10405:
10404:
10402:
10390:
10384:
10377:
10373:
10368:
10364:
10350:
10347:
10345:
10342:
10340:
10337:
10335:
10332:
10330:
10327:
10323:
10320:
10318:
10315:
10313:
10310:
10309:
10308:
10305:
10301:
10298:
10297:
10296:
10293:
10291:
10288:
10286:
10283:
10281:
10278:
10277:
10275:
10271:
10263:
10260:
10259:
10258:
10255:
10253:
10252:Sound collage
10250:
10248:
10245:
10243:
10240:
10238:
10235:
10233:
10230:
10228:
10225:
10223:
10220:
10218:
10215:
10211:
10208:
10207:
10206:
10203:
10201:
10200:Celtic fusion
10198:
10196:
10193:
10192:
10190:
10186:
10178:
10175:
10173:
10170:
10169:
10168:
10165:
10161:
10158:
10156:
10153:
10151:
10148:
10147:
10146:
10143:
10141:
10138:
10132:
10129:
10128:
10127:
10124:
10122:
10119:
10117:
10114:
10112:
10111:Circuit party
10109:
10107:
10104:
10103:
10102:
10099:
10097:
10094:
10092:
10089:
10087:
10084:
10080:
10077:
10075:
10072:
10070:
10067:
10066:
10065:
10062:
10060:
10057:
10055:
10052:
10051:
10049:
10045:
10042:
10038:
10028:
10025:
10023:
10020:
10018:
10015:
10013:
10010:
10008:
10005:
10004:
10002:
9998:
9992:
9989:
9985:
9982:
9981:
9980:
9977:
9973:
9970:
9968:
9965:
9963:
9960:
9959:
9958:
9955:
9953:
9950:
9948:
9945:
9943:
9940:
9938:
9935:
9933:
9930:
9926:
9923:
9921:
9918:
9917:
9916:
9913:
9911:
9908:
9906:
9903:
9901:
9898:
9894:
9891:
9889:
9886:
9885:
9884:
9881:
9879:
9876:
9874:
9871:
9869:
9866:
9864:
9863:Jungle terror
9861:
9859:
9856:
9854:
9851:
9849:
9846:
9844:
9841:
9837:
9834:
9833:
9832:
9829:
9827:
9824:
9822:
9819:
9817:
9814:
9812:
9809:
9807:
9804:
9802:
9799:
9797:
9794:
9792:
9789:
9787:
9784:
9782:
9779:
9777:
9774:
9773:
9771:
9767:
9761:
9758:
9756:
9753:
9751:
9748:
9746:
9743:
9739:
9736:
9735:
9734:
9731:
9729:
9726:
9724:
9721:
9719:
9716:
9712:
9709:
9708:
9707:
9704:
9702:
9699:
9697:
9694:
9692:
9689:
9687:
9684:
9680:
9677:
9675:
9672:
9671:
9670:
9667:
9665:
9662:
9658:
9655:
9654:
9653:
9650:
9648:
9645:
9643:
9640:
9638:
9635:
9633:
9630:
9628:
9625:
9623:
9620:
9618:
9615:
9613:
9610:
9606:
9603:
9601:
9598:
9597:
9596:
9593:
9591:
9588:
9584:
9581:
9580:
9579:
9576:
9574:
9573:Future garage
9571:
9569:
9568:Electronicore
9566:
9562:
9559:
9557:
9554:
9552:
9549:
9548:
9547:
9546:Electro house
9544:
9540:
9537:
9536:
9535:
9532:
9530:
9529:Dancehall pop
9527:
9523:
9520:
9519:
9518:
9515:
9513:
9510:
9508:
9505:
9503:
9500:
9498:
9495:
9493:
9490:
9488:
9485:
9484:
9482:
9478:
9470:
9467:
9465:
9462:
9461:
9460:
9459:UK hard house
9457:
9453:
9450:
9448:
9445:
9443:
9440:
9439:
9438:
9435:
9431:
9428:
9426:
9423:
9421:
9418:
9416:
9413:
9411:
9408:
9406:
9403:
9401:
9398:
9396:
9393:
9391:
9388:
9386:
9383:
9381:
9378:
9377:
9376:
9373:
9369:
9366:
9365:
9364:
9361:
9359:
9356:
9354:
9351:
9349:
9346:
9344:
9341:
9339:
9336:
9334:
9331:
9327:
9326:Electro swing
9324:
9323:
9322:
9319:
9315:
9312:
9311:
9310:
9307:
9305:
9302:
9300:
9297:
9295:
9292:
9290:
9287:
9283:
9280:
9279:
9278:
9275:
9273:
9270:
9268:
9265:
9263:
9260:
9258:
9255:
9251:
9248:
9246:
9243:
9241:
9238:
9234:
9231:
9230:
9229:
9226:
9224:
9221:
9219:
9216:
9214:
9211:
9209:
9206:
9204:
9203:Bouncy techno
9201:
9199:
9196:
9195:
9194:
9191:
9189:
9186:
9182:
9179:
9177:
9174:
9173:
9172:
9169:
9167:
9164:
9162:
9159:
9155:
9152:
9151:
9150:
9147:
9145:
9142:
9140:
9137:
9135:
9134:Dungeon synth
9132:
9130:
9127:
9121:
9118:
9116:
9113:
9111:
9108:
9106:
9103:
9102:
9100:
9096:
9093:
9092:
9091:
9088:
9084:
9081:
9079:
9076:
9074:
9071:
9069:
9066:
9065:
9063:
9062:
9061:
9060:Drum and bass
9058:
9054:
9051:
9049:
9046:
9044:
9043:Bristol sound
9041:
9040:
9039:
9036:
9032:
9029:
9028:
9027:
9024:
9022:
9019:
9017:
9014:
9012:
9009:
9007:
9004:
9002:
8999:
8997:
8994:
8992:
8989:
8985:
8982:
8980:
8977:
8975:
8972:
8971:
8970:
8967:
8965:
8962:
8960:
8957:
8955:
8952:
8950:
8947:
8945:
8942:
8940:
8937:
8935:
8932:
8931:
8929:
8925:
8919:
8918:Tracker music
8916:
8912:
8909:
8907:
8904:
8902:
8899:
8898:
8897:
8894:
8892:
8889:
8887:
8884:
8882:
8879:
8877:
8874:
8872:
8869:
8867:
8864:
8862:
8859:
8857:
8854:
8852:
8849:
8845:
8842:
8840:
8837:
8835:
8832:
8830:
8827:
8825:
8822:
8820:
8817:
8815:
8812:
8810:
8807:
8805:
8802:
8800:
8797:
8795:
8794:Balearic beat
8792:
8790:
8787:
8785:
8782:
8781:
8780:
8777:
8775:
8772:
8770:
8767:
8765:
8762:
8758:
8755:
8753:
8750:
8748:
8745:
8743:
8740:
8738:
8735:
8734:
8733:
8730:
8728:
8725:
8721:
8718:
8717:
8716:
8713:
8709:
8706:
8705:
8704:
8701:
8699:
8696:
8694:
8691:
8687:
8684:
8683:
8682:
8679:
8675:
8672:
8671:
8670:
8667:
8665:
8662:
8658:
8655:
8654:
8653:
8650:
8648:
8645:
8644:
8642:
8638:
8632:
8629:
8627:
8626:Reggae fusion
8624:
8620:
8617:
8615:
8612:
8610:
8607:
8606:
8605:
8602:
8598:
8595:
8593:
8590:
8588:
8585:
8584:
8583:
8580:
8578:
8575:
8571:
8568:
8567:
8566:
8563:
8559:
8556:
8555:
8554:
8551:
8549:
8546:
8544:
8541:
8539:
8536:
8534:
8531:
8529:
8526:
8524:
8521:
8517:
8514:
8513:
8512:
8509:
8508:
8506:
8502:
8494:
8491:
8490:
8489:
8486:
8482:
8479:
8477:
8474:
8472:
8469:
8468:
8467:
8464:
8462:
8459:
8457:
8456:New-age music
8454:
8452:
8449:
8447:
8444:
8442:
8439:
8437:
8434:
8432:
8429:
8427:
8424:
8423:
8421:
8417:
8411:
8410:Space age pop
8408:
8406:
8403:
8401:
8398:
8396:
8393:
8391:
8388:
8384:
8381:
8379:
8376:
8374:
8371:
8370:
8369:
8366:
8364:
8361:
8359:
8356:
8352:
8351:Western swing
8349:
8345:
8342:
8341:
8340:
8337:
8335:
8332:
8330:
8327:
8325:
8322:
8321:
8320:
8317:
8316:
8314:
8310:
8307:
8305:
8300:
8296:
8292:
8291:
8286:
8285:
8279:
8274:
8267:
8262:
8260:
8255:
8253:
8248:
8247:
8244:
8232:
8229:
8227:
8224:
8222:
8219:
8217:
8214:
8212:
8209:
8207:
8204:
8200:
8197:
8195:
8194:Bouncy techno
8192:
8191:
8190:
8187:
8185:
8182:
8180:
8177:
8176:
8174:
8170:
8164:
8161:
8159:
8156:
8154:
8151:
8149:
8146:
8144:
8141:
8139:
8136:
8132:
8129:
8128:
8127:
8124:
8122:
8119:
8117:
8114:
8112:
8109:
8107:
8104:
8102:
8099:
8097:
8094:
8093:
8091:
8087:
8083:
8076:
8071:
8069:
8064:
8062:
8057:
8056:
8053:
8046:
8043:
8040:
8037:
8034:
8031:
8028:
8025:
8024:
8014:
8010:
8005:
8002:
8001:
7996:
7992:
7989:
7988:
7984:
7981:
7978:
7975:
7971:
7968:
7967:
7963:
7960:
7956:
7953:
7952:
7948:
7945:
7941:
7938:
7937:
7933:
7932:
7920:
7916:
7912:
7907:
7903:
7899:
7895:
7890:
7887:
7883:
7879:
7875:
7871:
7867:
7863:
7862:
7856:
7852:
7848:
7844:
7843:
7837:
7833:
7829:
7825:
7820:
7816:
7812:
7808:
7803:
7799:
7795:
7791:
7786:
7782:
7778:
7774:
7769:
7765:
7761:
7757:
7753:
7749:
7744:
7740:
7736:
7732:
7727:
7723:
7719:
7715:
7710:
7706:
7702:
7698:
7693:
7690:
7686:
7683:
7679:
7675:
7671:
7667:
7662:
7658:
7654:
7650:
7645:
7641:
7637:
7633:
7628:
7624:
7620:
7616:
7611:
7607:
7603:
7600:
7598:
7592:
7588:
7584:
7581:
7578:
7574:
7569:
7565:
7561:
7557:
7552:
7548:
7544:
7540:
7535:
7531:
7527:
7523:
7518:
7514:
7510:
7506:
7501:
7497:
7493:
7489:
7484:
7480:
7476:
7472:
7467:
7466:
7445:
7441:
7440:
7435:
7428:
7412:
7408:
7401:
7385:
7381:
7375:
7359:
7355:
7351:
7345:
7329:
7325:
7324:
7319:
7312:
7304:
7298:
7294:
7290:
7286:
7279:
7272:
7266:
7259:
7255:
7252:
7251:
7247:Gillmor, D.,
7244:
7238:
7234:
7231:
7230:
7225:
7221:
7218:
7213:
7206:
7202:
7196:
7189:
7183:
7167:on 1 May 2008
7166:
7162:
7156:
7149:
7143:
7134:
7125:
7118:
7112:
7105:
7101:
7098:
7092:
7085:
7081:
7077:
7074:
7069:
7054:
7050:
7046:
7040:
7031:
7024:
7020:
7016:
7013:
7008:
7001:
6997:
6993:
6990:
6985:
6978:
6974:
6970:
6967:
6966:808 Statement
6962:
6955:
6951:
6947:
6944:
6939:
6932:
6926:
6919:
6915:
6910:
6908:
6898:
6889:
6883:Butler 2006:8
6880:
6873:
6867:
6860:
6854:
6845:
6829:
6825:
6821:
6814:
6797:
6793:
6787:
6771:
6767:
6763:
6756:
6740:
6739:
6732:
6726:Sicko 1999:48
6723:
6707:
6703:
6697:
6682:
6678:
6672:
6668:
6664:
6663:
6655:
6639:
6635:
6631:
6624:
6615:
6613:
6603:
6594:
6578:
6574:
6570:
6563:
6557:
6553:
6537:
6533:
6532:
6531:Rolling Stone
6527:
6520:
6505:
6501:
6495:
6486:
6478:
6474:
6473:Chicago Flame
6470:
6463:
6449:on 2016-03-04
6448:
6444:
6440:
6439:"Derrick May"
6433:
6431:
6414:
6410:
6404:
6397:
6385:
6381:
6375:
6359:
6355:
6351:
6344:
6328:
6324:
6323:
6318:
6311:
6304:
6303:Spin Magazine
6301:
6297:
6294:
6293:
6292:Live to Tell,
6286:
6279:
6278:Spin Magazine
6275:
6271:
6268:
6267:
6266:Fire Starters
6260:
6252:
6250:0-8195-6514-8
6246:
6242:
6238:
6237:
6229:
6222:
6216:
6210:
6204:
6197:
6191:
6175:
6171:
6167:
6163:
6157:
6148:
6146:
6144:
6142:
6135:
6133:
6129:
6125:
6121:
6113:
6104:
6097:
6093:
6087:
6080:
6074:
6068:
6064:
6061:
6060:
6053:
6046:
6042:
6038:
6035:
6034:
6027:
6018:
6009:
6000:
5991:
5985:
5981:
5978:
5974:
5970:
5966:
5963:
5958:
5942:
5938:
5932:
5925:
5921:
5907:
5903:
5897:
5888:
5886:
5878:
5872:
5866:
5862:
5859:
5855:
5851:
5847:
5843:
5842:
5837:
5835:
5829:
5825:
5824:Graham Massey
5821:
5817:
5811:
5802:
5795:
5781:
5777:
5773:
5766:
5757:
5741:
5737:
5730:
5723:
5719:
5716:
5710:
5701:
5685:
5681:
5677:
5670:
5668:
5660:
5656:
5653:
5648:
5632:
5628:
5622:
5606:
5602:
5598:
5592:
5584:
5583:
5575:
5573:
5563:
5554:
5545:
5543:
5541:
5531:
5529:
5519:
5510:
5495:
5491:
5485:
5481:
5480:
5475:
5468:
5462:Sicko 1999:80
5459:
5457:
5450:
5448:
5440:
5434:
5433:in late 1991.
5432:
5428:
5420:
5404:
5400:
5399:
5394:
5388:
5381:
5380:Wire Magazine
5377:
5371:
5355:
5352:(in German).
5351:
5350:
5345:
5338:
5329:
5322:
5318:
5312:
5303:
5294:
5285:
5276:
5274:
5266:
5265:
5261:
5258:
5251:
5236:
5232:
5228:
5222:
5214:
5208:
5204:
5201:(in German).
5200:
5193:
5191:
5182:
5176:
5172:
5168:
5161:
5159:
5151:
5145:
5143:
5141:
5139:
5122:
5118:
5115:(in German).
5114:
5113:
5105:
5089:
5085:
5079:
5072:
5066:
5064:
5062:
5060:
5058:
5056:
5039:
5035:
5028:
5026:
5017:
5013:
5006:
5004:
4994:
4992:
4990:
4983:
4978:
4972:
4963:
4961:
4951:
4942:
4926:
4922:
4916:
4914:
4907:Sicko 2010:71
4904:
4895:
4893:
4886:
4882:
4870:
4866:
4862:
4855:
4839:
4835:
4828:
4826:
4819:
4814:
4807:
4791:
4787:
4781:
4775:Sicko 1999:98
4772:
4770:
4768:
4761:
4754:
4747:
4740:
4731:
4722:
4715:
4711:
4705:
4689:
4685:
4684:
4679:
4673:
4666:
4665:9781858284217
4662:
4658:
4652:
4644:
4640:
4636:
4632:
4631:
4623:
4614:
4605:
4599:
4592:
4590:
4588:
4581:
4579:
4575:
4571:
4562:
4560:
4558:
4551:
4545:
4543:
4533:
4531:
4521:
4505:
4501:
4500:liner notes)"
4499:
4490:
4483:
4479:
4476:
4472:
4471:
4467:
4464:
4459:
4458:
4454:
4451:
4446:
4445:
4441:
4438:
4433:
4432:
4428:
4425:
4420:
4419:
4415:
4412:
4407:
4406:
4402:
4399:
4394:
4393:
4389:
4386:
4381:
4380:
4376:
4373:
4366:
4357:
4350:
4334:
4330:
4329:
4321:
4319:
4309:
4302:
4300:
4294:
4290:
4286:
4285:"Alan Oldham"
4278:
4271:
4260:
4256:
4252:
4244:
4235:
4226:
4217:
4211:Sicko 1999:76
4208:
4202:
4198:
4191:
4175:
4171:
4165:
4159:
4155:
4149:
4143:
4136:
4130:Sicko 1999:74
4127:
4120:
4115:
4108:
4104:
4098:
4089:
4082:
4081:Techno Rebels
4078:
4072:
4063:
4054:
4045:
4037:
4031:
4027:
4022:
4021:
4012:
3996:
3992:
3988:
3981:
3965:
3961:
3955:
3940:
3936:
3929:
3923:Sicko 1999:49
3920:
3904:
3900:
3896:
3895:
3890:
3884:
3875:
3873:
3865:
3859:
3853:Sicko 1999:71
3850:
3842:
3838:
3834:
3827:
3825:
3823:
3821:
3819:
3809:
3807:
3800:
3796:
3791:. p. 60.
3790:
3783:
3775:
3768:
3752:
3748:
3744:
3737:
3721:
3717:
3711:
3703:
3696:
3689:
3685:
3679:
3673:Sicko 1999:28
3670:
3661:
3654:
3652:
3648:
3644:
3640:
3626:
3622:
3620:0-87930-628-9
3616:
3612:
3608:
3607:
3599:
3593:
3591:
3583:
3581:
3579:
3577:
3567:
3565:
3556:
3552:
3550:
3546:
3544:
3540:
3538:
3534:
3533:
3532:
3526:
3519:
3515:
3511:
3505:
3489:
3485:
3484:
3483:The Spectator
3479:
3475:
3469:
3467:
3462:
3453:
3450:
3449:
3443:
3441:
3437:
3433:
3429:
3424:
3422:
3418:
3414:
3410:
3406:
3402:
3398:
3394:
3390:
3386:
3381:
3376:
3371:
3362:
3352:
3349:
3341:
3338:November 2021
3331:
3327:
3321:
3319:
3312:
3303:
3302:
3294:
3291:
3287:
3283:
3282:SuperCollider
3279:
3275:
3271:
3267:
3262:
3257:
3253:
3249:
3245:
3242:performance (
3241:
3237:
3233:
3223:
3221:
3216:
3211:
3209:
3205:
3201:
3197:
3196:Propellerhead
3193:
3192:
3181:
3178:
3173:
3170:By May 1996,
3167:
3162:
3160:
3159:
3153:
3147:
3145:
3141:
3137:
3133:
3129:
3125:
3121:
3120:Roland SH-101
3117:
3113:
3109:
3101:
3097:
3096:Roland TR-808
3092:
3083:
3081:
3077:
3073:
3069:
3065:
3061:
3057:
3053:
3049:
3043:
3041:
3037:
3033:
3029:
3025:
3020:
3016:
3015:improvisatory
3012:
3008:
3007:
3002:
2993:
2984:
2982:
2978:
2974:
2970:
2966:
2961:
2959:
2955:
2952:as well. The
2951:
2947:
2943:
2939:
2935:
2931:
2927:
2923:
2920:
2916:
2911:
2909:
2905:
2901:
2897:
2896:Western music
2893:
2889:
2884:
2882:
2878:
2874:
2871:
2867:
2863:
2859:
2855:
2851:
2847:
2832:
2830:
2826:
2822:
2821:Paul Hartnoll
2818:
2814:
2810:
2806:
2802:
2798:
2794:
2793:Raymond Scott
2789:
2786:Some electro-
2779:
2777:
2773:
2769:
2765:
2760:
2758:
2754:
2750:
2746:
2745:
2740:
2739:
2734:
2730:
2726:
2722:
2718:
2714:
2710:
2706:
2701:
2697:
2693:
2689:
2679:
2677:
2673:
2669:
2665:
2661:
2657:
2653:
2648:
2644:
2640:
2639:Steve Fairnie
2625:
2623:
2619:
2614:
2610:
2606:
2605:Techno Rebels
2602:
2598:
2594:
2589:
2587:
2586:
2581:
2577:
2573:
2569:
2568:Missy Elliott
2564:
2562:
2558:
2554:
2550:
2542:
2538:
2529:
2527:
2521:
2519:
2515:
2511:
2507:
2503:
2499:
2495:
2490:
2488:
2484:
2480:
2475:
2474:
2469:
2464:
2462:
2458:
2454:
2453:drum and bass
2450:
2443:
2433:
2431:
2427:
2423:
2419:
2415:
2410:
2408:
2404:
2400:
2396:
2392:
2388:
2384:
2380:
2375:
2373:
2369:
2365:
2361:
2357:
2353:
2349:
2348:sound systems
2345:
2341:
2337:
2333:
2324:
2319:
2315:
2311:
2307:
2303:
2299:
2289:
2287:
2283:
2279:
2274:
2272:
2271:
2266:
2262:
2258:
2254:
2250:
2246:
2240:
2233:
2227:
2225:
2224:
2219:
2215:
2212:
2208:
2204:
2203:
2197:
2196:technology."
2194:
2190:
2186:
2179:
2175:
2171:
2161:
2159:
2155:
2151:
2147:
2143:
2139:
2135:
2134:Pacific State
2131:
2127:
2121:
2117:
2113:
2102:
2093:
2091:
2087:
2083:
2079:
2075:
2071:
2067:
2058:
2053:
2043:
2041:
2040:
2035:
2031:
2027:
2022:
2018:
2017:Basic Channel
2014:
2010:
2006:
2002:
1998:
1994:
1987:
1982:
1980:
1976:
1973:in 1987, and
1972:
1968:
1963:
1961:
1957:
1953:
1950:-based label
1949:
1945:
1940:
1937:
1933:
1928:
1926:
1922:
1921:Frankie Bones
1918:
1914:
1910:
1909:Richie Hawtin
1906:
1902:
1898:
1894:
1890:
1886:
1885:Stacey Pullen
1882:
1878:
1874:
1873:New York City
1864:
1862:
1858:
1854:
1850:
1846:
1843:-based label
1842:
1838:
1837:The Beginning
1834:
1830:
1826:
1815:
1812:
1808:
1804:
1800:
1799:Techno-House.
1796:
1792:
1788:
1784:
1778:
1776:
1771:
1767:
1763:
1762:
1751:
1749:
1745:
1741:
1737:
1733:
1729:
1728:
1724:organisation
1721:
1719:
1715:
1711:
1707:
1703:
1699:
1698:
1694:In 1990, the
1692:
1690:
1686:
1682:
1678:
1674:
1670:
1666:
1662:
1658:
1654:
1650:
1646:
1641:
1637:
1636:
1626:
1622:
1618:
1616:
1612:
1608:
1604:
1600:
1596:
1592:
1588:
1584:
1580:
1576:
1572:
1571:
1566:
1565:
1560:
1556:
1555:
1549:
1545:
1541:
1533:
1530:The original
1528:
1519:
1517:
1513:
1509:
1505:
1502:In July 1989
1500:
1498:
1494:
1490:
1486:
1482:
1481:
1476:
1466:
1464:
1460:
1456:
1452:
1447:
1438:
1436:
1432:
1428:
1424:
1420:
1416:
1412:
1408:
1404:
1400:
1396:
1392:
1384:
1380:
1375:
1370:
1366:
1362:
1358:
1354:
1350:
1349:Tresor (club)
1343:German techno
1340:
1338:
1332:
1323:
1320:
1318:
1314:
1310:
1300:
1298:
1293:
1291:
1287:
1283:
1279:
1275:
1271:
1267:
1263:
1259:
1253:
1251:
1247:
1243:
1237:
1234:
1232:
1227:
1223:
1219:
1215:
1211:
1207:
1206:Northern Soul
1203:
1197:
1190:
1185:
1181:
1179:
1175:
1172:
1168:
1164:
1160:
1156:
1152:
1148:
1144:
1140:
1136:
1128:
1124:
1120:
1119:Roland TB-303
1116:
1111:
1107:
1103:
1093:
1091:
1087:
1082:
1079:
1075:
1063:
1058:
1056:
1052:
1048:
1041:
1037:
1033:
1029:
1025:
1021:
1015:Detroit sound
1012:
1010:
1006:
1002:
998:
991:
986:
984:
980:
975:
973:
967:
963:
962:Chicago house
952:
947:
945:
941:
937:
932:
930:
926:
922:
918:
914:
910:
906:
901:
899:
898:
891:
889:
885:
884:
877:
873:
863:
861:
857:
856:sound systems
851:
848:
842:
840:
836:
832:
826:
824:
820:
816:
812:
808:
804:
800:
796:
792:
788:
786:
781:
771:
769:
764:
760:
758:
754:
750:
746:
742:
736:
734:
730:
726:
722:
718:
717:
712:
708:
704:
700:
696:
692:
686:
682:
678:
674:
670:
664:
654:
652:
648:
643:
639:
635:
631:
627:
623:
619:
615:
611:
607:
603:
598:
596:
592:
588:
584:
583:Eddie Fowlkes
580:
576:
572:
568:
564:
563:
558:
557:Alvin Toffler
554:
550:
546:
542:
538:
534:
530:
526:
522:
518:
514:
510:
506:
505:
500:
495:
493:
489:
485:
481:
477:
473:
469:
465:
460:
458:
454:
450:
446:
443:
439:
436:, as well as
435:
431:
427:
426:drum machines
423:
419:
416:
412:
408:
404:
400:
396:
392:
388:
384:
373:
370:
368:
365:
363:
360:
358:
355:
353:
350:
348:
345:
344:
341:
336:
333:
329:
324:
318:
315:
313:
310:
309:
306:
301:
295:
292:
290:
287:
285:
282:
280:
277:
275:
272:
270:
267:
265:
262:
260:
257:
255:
252:
250:
247:
245:
242:
240:
237:
235:
232:
231:
228:
225:Fusion genres
223:
217:
214:
212:
209:
207:
204:
202:
199:
197:
194:
192:
189:
187:
184:
182:
179:
177:
174:
173:
170:
165:
159:
156:
154:
151:
150:
148:
144:
140:
136:
132:
128:
124:
120:
114:
111:
109:
106:
104:
103:Chicago house
101:
99:
96:
94:
91:
89:
86:
84:
81:
79:
76:
74:
71:
69:
66:
64:
61:
60:
58:
54:
49:
44:
40:
33:
19:
10383:
10376:Energy Flash
10375:
10374:is based on
10371:
10367:
10312:Drum machine
10222:Doujin music
10210:Lounge music
10167:Street dance
10121:EDM festival
10074:Sound system
10040:Other topics
9915:Post-dubstep
9868:Lofi hip hop
9843:Future house
9669:Reductionism
9637:Nintendocore
9561:Fidget house
9512:Coupé-décalé
9452:Speed garage
9267:Indietronica
9171:Ghetto house
9149:French house
9139:Electroclash
9095:Ragga jungle
9006:Dark electro
8906:Bleep techno
8895:
8886:Sophisti-pop
8824:Jersey sound
8737:Funk carioca
8693:Dark ambient
8597:Minimal wave
8288:
8282:
8111:Bleep techno
8081:
7999:
7986:
7979:
7965:
7950:
7935:
7910:
7909:Watten, B.,
7893:
7876:St John, G.
7860:
7841:
7823:
7806:
7789:
7788:Savage, J.,
7772:
7747:
7730:
7713:
7696:
7665:
7648:
7631:
7614:
7596:
7572:
7555:
7554:Collin, M.,
7538:
7521:
7504:
7487:
7470:
7462:Bibliography
7448:. Retrieved
7437:
7427:
7415:. Retrieved
7411:the original
7407:"Egg London"
7400:
7388:. Retrieved
7374:
7362:. Retrieved
7344:
7332:. Retrieved
7321:
7311:
7284:
7278:
7270:
7265:
7249:
7243:
7228:
7212:
7204:
7200:
7195:
7187:
7182:
7169:. Retrieved
7165:the original
7155:
7147:
7142:
7133:
7124:
7116:
7111:
7095:Overview of
7091:
7083:
7068:
7057:. Retrieved
7048:
7039:
7030:
7022:
7007:
6999:
6984:
6976:
6961:
6953:
6938:
6930:
6925:
6917:
6897:
6888:
6879:
6874:2 (1): p. 38
6871:
6866:
6858:
6853:
6844:
6832:. Retrieved
6823:
6813:
6800:. Retrieved
6796:the original
6786:
6774:. Retrieved
6755:
6743:. Retrieved
6737:
6731:
6722:
6710:. Retrieved
6696:
6685:. Retrieved
6661:
6654:
6642:. Retrieved
6633:
6623:
6602:
6593:
6581:. Retrieved
6572:
6562:
6552:
6540:. Retrieved
6529:
6519:
6508:. Retrieved
6494:
6485:
6477:the original
6472:
6462:
6451:. Retrieved
6447:the original
6442:
6417:. Retrieved
6403:
6395:
6388:. Retrieved
6384:the original
6374:
6362:. Retrieved
6353:
6343:
6331:. Retrieved
6327:the original
6320:
6310:
6291:
6285:
6265:
6259:
6235:
6228:
6220:
6215:
6208:
6203:
6195:
6190:
6178:. Retrieved
6165:
6156:
6117:
6112:
6103:
6095:
6086:
6073:
6058:
6052:
6044:
6032:
6026:
6017:
6008:
5999:
5990:
5972:
5957:
5945:. Retrieved
5931:
5923:
5919:
5910:. Retrieved
5906:the original
5896:
5876:
5871:
5853:
5849:
5839:
5831:
5827:
5810:
5801:
5784:. Retrieved
5775:
5765:
5756:
5744:. Retrieved
5729:
5709:
5700:
5688:. Retrieved
5647:
5635:. Retrieved
5621:
5609:. Retrieved
5591:
5580:
5562:
5553:
5518:
5509:
5498:, retrieved
5478:
5467:
5447:Public Enemy
5444:
5439:
5424:
5419:
5407:. Retrieved
5396:
5387:
5370:
5358:. Retrieved
5347:
5337:
5328:
5320:
5316:
5311:
5302:
5293:
5284:
5255:
5250:
5239:. Retrieved
5221:
5198:
5170:
5166:
5149:
5125:. Retrieved
5111:
5104:
5092:. Retrieved
5078:
5070:
5042:. Retrieved
5015:
5011:
4982:adventurous.
4980:
4976:
4971:
4950:
4941:
4929:. Retrieved
4903:
4884:
4880:
4873:. Retrieved
4864:
4854:
4842:. Retrieved
4838:the original
4817:
4812:
4806:
4794:. Retrieved
4780:
4758:
4753:
4744:
4739:
4730:
4721:
4713:
4709:
4704:
4692:. Retrieved
4688:the original
4681:
4672:
4656:
4651:
4634:
4628:
4622:
4613:
4604:
4596:
4578:Pete Shelley
4566:
4549:
4520:
4508:. Retrieved
4504:the original
4497:
4489:
4473:(1994), and
4461:
4448:
4435:
4422:
4409:
4396:
4383:
4370:
4365:
4355:
4349:
4337:. Retrieved
4333:the original
4327:
4308:
4298:
4296:
4293:the original
4288:
4277:
4269:
4263:. Retrieved
4254:
4243:
4234:
4225:
4216:
4207:
4200:
4196:
4190:
4178:. Retrieved
4164:
4157:
4153:
4148:
4140:
4135:
4126:
4118:
4114:
4106:
4102:
4097:
4088:
4080:
4076:
4071:
4062:
4053:
4044:
4019:
4011:
3999:. Retrieved
3990:
3980:
3968:. Retrieved
3964:the original
3954:
3943:. Retrieved
3928:
3919:
3907:. Retrieved
3892:
3883:
3863:
3858:
3849:
3841:the original
3836:
3798:
3793:
3788:
3782:
3773:
3767:
3755:. Retrieved
3751:the original
3746:
3736:
3724:. Retrieved
3720:the original
3710:
3701:
3695:
3687:
3682:
3678:
3669:
3660:
3650:
3636:
3629:. Retrieved
3625:the original
3605:
3598:
3587:
3554:
3548:
3542:
3536:
3530:
3525:
3517:
3513:
3509:
3504:
3492:. Retrieved
3488:the original
3481:
3425:
3416:
3408:
3392:
3384:
3367:
3344:
3335:
3315:
3256:Ableton Live
3243:
3229:
3212:
3203:
3199:
3189:
3187:
3176:
3171:
3169:
3164:
3156:
3148:
3127:
3105:
3056:equalization
3044:
3024:synchronized
3019:music studio
3004:
2998:
2977:drum machine
2963:Some of the
2962:
2950:trance music
2919:quarter note
2912:
2885:
2850:instrumental
2843:
2829:Warp Records
2785:
2761:
2752:
2742:
2736:
2700:new romantic
2695:
2685:
2682:Proto-techno
2676:techno dance
2675:
2672:Skinny Puppy
2651:
2647:Techno Twins
2636:
2604:
2601:Energy Flash
2600:
2596:
2590:
2583:
2580:Grammy Award
2571:
2565:
2546:
2526:Napalm Death
2522:
2517:
2514:electroclash
2491:
2486:
2471:
2465:
2459:, soul, and
2445:
2411:
2376:
2368:Spiral Tribe
2329:
2278:intelligence
2277:
2275:
2268:
2264:
2252:
2248:
2244:
2242:
2231:
2229:
2221:
2218:Warp Records
2200:
2198:
2192:
2188:
2184:
2181:
2178:bleep techno
2141:
2123:
2095:
2073:
2063:
2037:
2005:Blake Baxter
1996:
1990:
1985:
1964:
1960:C.J. Bolland
1941:
1929:
1925:Joey Beltram
1881:Kenny Larkin
1870:
1836:
1832:
1821:
1818:Developments
1798:
1779:
1774:
1769:
1765:
1759:
1757:
1725:
1722:
1710:Monika Kruse
1700:, the first
1695:
1693:
1665:Ongaku Musik
1633:
1630:
1568:
1562:
1558:
1552:
1548:Paul van Dyk
1537:
1501:
1496:
1492:
1478:
1475:West Germany
1472:
1448:
1444:
1399:Depeche Mode
1394:
1388:
1369:Trance music
1337:smart drinks
1334:
1325:
1321:
1313:Alton Miller
1309:George Baker
1306:
1294:
1290:Petshop Boys
1277:
1255:
1246:Blake Baxter
1239:
1235:
1230:
1225:
1221:
1217:
1210:Neil Rushton
1201:
1199:
1188:
1182:
1177:
1167:The Haçienda
1139:sound system
1132:
1083:
1071:
1060:
1044:
993:
988:
976:
969:
949:
933:
920:
916:
912:
904:
902:
895:
892:
888:12 Who Count
887:
881:
879:
852:
844:
828:
783:
777:
765:
761:
737:
715:
711:Donna Summer
695:Muddy Waters
688:
599:
594:
587:Blake Baxter
560:
502:
496:
461:
434:synthesizers
382:
381:
338:Other topics
326:Local scenes
317:North Brazil
239:electroclash
191:bleep techno
131:West Germany
18:Techno music
10422:Subcultures
10322:Synthesizer
10227:Lo-fi music
10172:House dance
10155:Rare groove
10079:Turntablism
10064:Disc jockey
10012:Drift phonk
9893:Moombahsoul
9888:Moombahcore
9848:Future soul
9831:Future bass
9826:Funktronica
9811:Bro-country
9750:Witch house
9718:Tecno brega
9612:Jersey club
9556:Dutch house
9410:Progressive
9348:Power noise
9294:Livetronica
9144:Folktronica
9120:Liquid funk
9110:Intelligent
9105:Atmospheric
8996:Changa tuki
8991:Broken beat
8934:Ambient dub
8901:Acid techno
8891:Synth-metal
8752:Tecnocumbia
8664:Ambient pop
8619:Italo disco
8538:Electropunk
8516:Space disco
8488:Space music
8481:Sampledelia
8290:Electronica
8231:Tecno brega
8221:Power noise
8184:Hard trance
8158:Tech trance
8096:Acid techno
7987:Technomania
7928:Filmography
7822:Sicko, D.,
7805:Sicko, D.,
7647:Kodwo, E.,
7630:Fritz, J.,
7599:liner notes
7450:28 February
7417:27 February
6989:BORN WIBBLY
6583:22 November
6542:22 November
6354:Metro Times
6333:21 December
5841:Quadrastate
5828:exotic jazz
5713:Mike Banks
5409:17 December
5398:Der Spiegel
5360:17 December
5349:Der Spiegel
5094:19 December
4281:Interview.
3726:22 November
3643:Derrick May
3639:Juan Atkins
3518:electronica
3510:house music
3407:in Munich,
3370:Ultraschall
3248:live coding
3100:Derrick May
3040:multi-track
2969:syncopation
2915:common time
2904:euro-trance
2776:White Horse
2744:I Feel Love
2696:progressive
2692:Italo disco
2652:Technodelic
2628:Antecedents
2613:Ford Motors
2576:Juan Atkins
2403:Australia's
2395:Koh Phangan
2318:DIY culture
2314:Acid techno
2292:Free techno
2261:electronica
2209:, Schranz,
2189:pure techno
2185:intelligent
2116:Jazz fusion
2078:Robert Hood
2070:Daniel Bell
2039:I Feel Love
1934:, the club
1901:Robert Hood
1853:Netherlands
1835:(1989) and
1697:Babalu Club
1677:Dorian Gray
1667:). By 1992
1649:discothèque
1544:East Berlin
1512:Love Parade
1485:West Berlin
1451:Uwe Schmidt
1427:Dorian Gray
1379:Dorian Gray
1377:Doorway to
1353:Love Parade
1286:Trevor Horn
1174:dance music
1171:underground
1040:Derrick May
1032:Juan Atkins
1005:Colin Faver
966:House music
929:Planet Rock
921:Cosmic Cars
872:Juan Atkins
866:Juan Atkins
774:School days
753:Technopolis
733:psychedelic
703:Juan Atkins
691:Kodwo Eshun
677:Italo disco
673:House music
618:Netherlands
571:Derrick May
567:Juan Atkins
466:over other
411:common time
176:Acid techno
93:Italo disco
39:Technoblade
10401:Categories
10295:Drum break
10242:Rave music
10232:Madchester
10195:Bass music
10177:Rave dance
10126:Free party
10091:Microgenre
9962:Hardvapour
9900:Mumble rap
9883:Moombahton
9873:Mahraganat
9801:Black MIDI
9711:Sovietwave
9686:Russ music
9617:Juke house
9590:Hauntology
9551:Complextro
9539:Reggaestep
9304:Microhouse
9299:Merenhouse
9218:Frenchcore
9213:Free tekno
9181:Ghettotech
9129:Dub techno
9026:Diva house
9021:Disco polo
9011:Denpa song
8954:Bhangragga
8866:Miami bass
8757:Turbo-folk
8727:Electropop
8698:Dubtronica
8614:Dance-rock
8609:Dance-punk
8604:Post-disco
8565:Industrial
8543:Euro disco
8493:Space rock
8383:Tape music
8273:Electronic
8211:Microhouse
8179:Ghettotech
8153:Tech house
8131:Free tekno
8126:Hardtechno
8121:Dub techno
7892:Toop, D.,
7486:Barr, T.,
7479:3908010144
7217:Indy Media
7171:14 January
7059:2008-07-17
6943:909 LIVES!
6834:10 January
6687:2022-05-26
6665:. London:
6644:10 January
6510:2023-03-25
6453:2008-04-03
6419:10 January
6390:10 January
6180:17 January
6092:Aphex Twin
5786:2 December
5760:Sicko 1999
5746:2 December
5427:Twin Peaks
5241:2022-12-17
5127:27 October
5044:29 January
4875:2008-07-22
4574:Parliament
4265:2008-06-11
4035:189102406X
4001:9 December
3945:2019-08-04
3458:References
3436:Egg London
3409:Die Rakete
3405:Blitz Club
3244:laptronica
3175:standard.
3128:Nude Photo
3124:Yamaha DX7
2973:polyrhythm
2883:practice.
2813:Doctor Who
2803:newspaper
2782:Prehistory
2774:released "
2768:Nitzer Ebb
2656:flexi disc
2622:Ford Focus
2549:Underworld
2541:Underworld
2494:ghettotech
2479:Birmingham
2440:See also:
2436:Divergence
2383:free party
2364:Nottingham
2336:free party
2310:Free Party
2298:Free tekno
2296:See also:
2168:See also:
2158:Dave Angel
2126:Manchester
2110:See also:
2074:minimalism
2026:Düsseldorf
2001:Jeff Mills
1897:Mike Banks
1893:Jeff Mills
1877:Octave One
1841:Birmingham
1795:Industrial
1732:Low Spirit
1702:afterhours
1689:Deep House
1615:Nitzer Ebb
1493:Negerhalle
1483:opened in
1423:Technoclub
1391:Talla 2XLC
1347:See also:
1274:supergroup
1242:Carl Craig
1135:subculture
1127:acid house
1102:Acid house
1100:See also:
1096:Acid house
1001:Mark Moore
979:acid house
960:See also:
831:Funkadelic
823:the B-52's
729:Gary Numan
697:is to the
667:See also:
647:tech house
642:dub techno
595:first wave
549:futuristic
430:sequencers
367:free party
289:tech house
259:hardvapour
254:ghettotech
201:dub techno
108:industrial
98:post-disco
10096:Nightclub
10059:Club drug
10054:Beat drop
9957:Vaporwave
9932:Rara tech
9821:Dreampunk
9776:Afroswing
9760:Wonky pop
9706:Synthwave
9674:Lowercase
9632:Nightcore
9622:Jumpstyle
9600:Chillwave
9522:Crunkcore
9507:Cloud rap
9487:Afrobeats
9447:Breakstep
9437:UK garage
9425:Uplifting
9363:Reggaeton
9343:Post-rock
9289:Kidandali
9250:Speedcore
9228:Hardstyle
9208:Breakcore
9166:Futurepop
9078:Neurofunk
9038:Downtempo
8829:Hip house
8769:Eurodance
8708:Freestyle
8669:Breakbeat
8647:Acid jazz
8631:Synth-pop
8592:Dark wave
8587:Cold wave
8577:Japanoise
8533:Dancehall
8451:Krautrock
8446:Jazz-funk
8089:Subgenres
7580:0263-1210
7364:31 August
7097:Reason 10
6802:11 August
6776:3 October
6667:Routledge
6364:11 August
6132:squatting
5977:Techno.de
5947:11 August
5820:John Peel
5715:interview
5431:UK Charts
5203:Blumenbar
4931:1 October
4796:13 August
4643:0883-1122
4637:(9): 19.
4598:company."
4498:Soul Jazz
4289:Spannered
4180:8 October
3970:11 August
3757:12 August
3413:Nuremberg
3330:talk page
3278:Pure Data
3220:zeitgeist
3184:Emulation
3144:Akai S900
3072:filtering
3060:filtering
3006:producers
2981:funkiness
2944:(or even
2930:bass drum
2881:aesthetic
2870:synthetic
2772:Laid Back
2721:Heaven 17
2688:Eurodisco
2668:Billboard
2637:In 1977,
2426:Amsterdam
2407:continent
2356:Sheffield
2302:Freetekno
2265:post-rave
2199:The term
2146:Model 500
2130:808 State
2034:Eurodisco
1979:Londoners
1954:embraced
1811:Tekknozid
1807:Wolle XDP
1748:Harthouse
1640:Sven Väth
1611:Front 242
1504:Dr. Motte
1497:ETA-Halle
1463:technopop
1459:krautrock
1435:Frontpage
1419:Sven Väth
1415:New Order
1411:Kraftwerk
1407:Heaven 17
1403:Front 242
1383:Frankfurt
1278:Intellex.
1266:crossover
940:Metroplex
936:Model 500
917:metroplex
839:Knee Deep
735:" music.
681:Kraftwerk
602:countries
521:Kraftwerk
517:synth-pop
284:techstyle
244:Eurodance
234:Afro tech
167:Subgenres
135:Frankfurt
113:krautrock
88:Eurodisco
73:synth-pop
10349:Waveform
10145:Sampling
10131:Teknival
9984:Hardwave
9967:Mallsoft
9947:EDM trap
9942:Shamstep
9853:Hyperpop
9786:Amapiano
9781:Algorave
9738:Funkstep
9733:UK funky
9679:Onkyokei
9657:New rave
9492:Bassline
9469:Hard NRG
9464:Hardbass
9400:Hands Up
9385:Balearic
9333:Nu metal
9314:Schaffel
9262:Illbient
9193:Hardcore
9176:Footwork
9154:Nu disco
9115:Jazzstep
9083:Techstep
9073:Hardstep
9068:Darkstep
9053:Trip hop
9048:Psybient
8974:Darkcore
8959:Big beat
8871:New beat
8764:Eurobeat
8582:New wave
8528:Chiptune
8358:Biomusic
8226:Techstep
8189:Hardcore
8148:Schaffel
7991:Archived
7970:Archived
7955:Archived
7940:Archived
7685:Archived
7602:Archived
7583:Archived
7573:The Face
7444:Archived
7390:23 April
7384:Archived
7358:Archived
7328:Archived
7254:Archived
7233:Archived
7220:Archived
7100:Archived
7076:Archived
7053:Archived
7015:Archived
6992:Archived
6969:Archived
6946:Archived
6914:System 7
6828:Archived
6824:BBC News
6770:Archived
6706:Archived
6681:Archived
6638:Archived
6577:Archived
6536:Archived
6504:Archived
6413:Archived
6358:Archived
6296:Archived
6270:Archived
6174:Archived
6172:. 1994.
6063:Archived
6045:The Wire
6037:Archived
5980:Archived
5965:Archived
5941:Archived
5861:Archived
5780:Archived
5740:Archived
5718:Archived
5684:Archived
5655:Archived
5631:Archived
5605:Archived
5582:The Wire
5494:archived
5474:"Techno"
5403:Archived
5354:Archived
5260:Archived
5235:Archived
5121:Archived
5088:Archived
5038:Archived
4925:Archived
4869:Archived
4790:Archived
4478:Archived
4466:Archived
4460:(1994),
4453:Archived
4447:(1990),
4440:Archived
4434:(1994),
4427:Archived
4421:(1995),
4414:Archived
4408:(1997),
4401:Archived
4395:(1999),
4388:Archived
4382:(2003),
4375:Archived
4259:Archived
4174:Archived
3995:Archived
3991:Gridface
3939:Archived
3903:Archived
3789:Newsweek
3512:, while
3446:See also
3440:Bassiani
3428:Sub Club
3401:MMA Club
3380:Berghain
3324:You may
3274:freeware
3208:paradigm
3140:sampling
3136:DIN sync
3076:Autechre
2749:off-beat
2727:(1981),
2725:Cybotron
2643:Bev Sage
2422:Czechtek
2418:Teknival
2399:Thailand
2352:Brighton
2306:Teknival
2140:release
2021:mastered
1967:Sub Club
1714:Tom Novy
1685:new beat
1583:hardcore
1455:Bigod 20
1295:Despite
1143:Balearic
1065:—
944:No UFO's
913:cybotron
909:Futurist
749:Ultravox
685:Synthpop
630:hardcore
616:and the
559:'s book
488:harmonic
476:melodies
455:of such
442:Roland's
424:such as
395:produced
372:teknival
279:techstep
274:schaffel
10317:Sampler
10047:Culture
9937:Seapunk
9920:Brostep
9728:UK bass
9691:Sambass
9664:Rabòday
9583:Grindie
9534:Dubstep
9321:Nu jazz
9031:Hardbag
8799:Chicago
8789:Ambient
8703:Electro
8553:Hip hop
8426:Ambient
8172:Related
8013:YouTube
8000:NowHere
7680:Nye, S
6712:May 26,
6241:185–186
6128:economy
5912:21 July
5690:May 26,
5637:2 March
5611:2 March
4979:Techno!
4844:17 June
4746:ecstasy
4694:25 July
4510:3 April
4339:4 April
4299:No UFOs
3909:23 July
3899:YouTube
3494:25 July
3397:Leipzig
3389:Cologne
3385:Gewölbe
3270:Reaktor
3266:Max/Msp
3161:noted:
3152:Hip hop
3036:measure
3032:overdub
2873:timbres
2825:Orbital
2801:English
2729:Moroder
2566:Rapper
2557:Madonna
2553:Orbital
2498:hip-hop
2457:hip hop
2082:"ravey"
1971:Glasgow
1944:Belgium
1857:Belgium
1791:Suicide
1740:Marusha
1736:WestBam
1706:DJ Hell
1627:in 1994
1276:called
1262:Big Fun
1214:A&R
1055:R&B
956:Chicago
638:ambient
614:Belgium
610:Germany
541:electro
509:Detroit
484:timbres
401:, with
332:Detroit
129:), and
127:Detroit
68:electro
10407:Techno
10247:Reggae
10188:Genres
10160:Riddim
10086:Mashup
10069:DJ mix
9791:Azonto
9723:Trival
9701:Skweee
9642:Nortec
9605:Glo-fi
9497:Budots
9442:2-step
9375:Trance
9368:Dembow
9358:Psydub
9245:Mákina
9240:J-core
9223:Gabber
9188:Glitch
9161:Funkot
9101:Light
9090:Jungle
9064:Heavy
8964:Bitpop
8896:Techno
8844:Tribal
8809:Garage
8747:Kwaito
8742:Kuduro
8548:Hi-NRG
8523:Boogie
8299:Genres
8216:Nortec
8199:Gabber
8082:Techno
7917:
7900:
7884:
7868:
7849:
7830:
7813:
7796:
7779:
7762:
7754:
7737:
7720:
7703:
7672:
7655:
7638:
7621:
7562:
7545:
7528:
7511:
7494:
7477:
7471:Techno
7334:4 July
7299:
6745:4 June
6673:
6247:
6120:crusty
5973:Mixmag
5680:Mixmag
5500:6 July
5486:
5321:Techno
5209:
5177:
5117:Tele 5
4883:techno
4683:Mixmag
4663:
4641:
4356:Select
4142:City'.
4032:
4028:–121.
3797:techno
3645:, and
3631:26 May
3617:
3514:techno
3432:Fabric
3284:, and
3252:Reason
3246:) and
3240:laptop
3215:Reason
3116:TB-303
3112:TR-909
3108:TR-808
3058:, and
2938:hi-hat
2922:pulses
2866:rhythm
2854:DJ set
2815:theme
2719:, and
2713:Visage
2707:, and
2506:glitch
2502:nortec
2483:Optimo
2461:reggae
2449:jungle
2430:Berlin
2316:, and
2259:, and
2239:scene.
2214:Gabber
2176:, and
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8779:House
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8640:1980s
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