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</ul> </li> <li id="toc-Juan_Atkins" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Juan_Atkins"> <div class="vector-toc-text"> 1.2 Juan Atkins </div> </a> <ul id="toc-Juan_Atkins-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Chicago" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Chicago"> <div class="vector-toc-text"> 1.3 Chicago </div> </a> <ul id="toc-Chicago-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Detroit_sound" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Detroit_sound"> <div class="vector-toc-text"> 1.4 Detroit sound </div> </a> <ul id="toc-Detroit_sound-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Acid_house" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Acid_house"> <div class="vector-toc-text"> 1.5 Acid house </div> </a> <ul id="toc-Acid_house-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_New_Dance_Sound_of_Detroit" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_New_Dance_Sound_of_Detroit"> <div class="vector-toc-text"> 1.6 The New Dance Sound of Detroit </div> </a> <ul id="toc-The_New_Dance_Sound_of_Detroit-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Music_Institute" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Music_Institute"> <div class="vector-toc-text"> 1.7 Music Institute </div> </a> <ul id="toc-Music_Institute-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-German_techno" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#German_techno"> <div class="vector-toc-text"> 2 German techno </div> </a> <button aria-controls="toc-German_techno-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle German techno subsection </button> <ul id="toc-German_techno-sublist" class="vector-toc-list"> <li id="toc-Frankfurt_tape_scene" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Frankfurt_tape_scene"> <div class="vector-toc-text"> 2.1 Frankfurt tape scene </div> </a> <ul id="toc-Frankfurt_tape_scene-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Influence_of_Chicago_and_Detroit" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Influence_of_Chicago_and_Detroit"> <div class="vector-toc-text"> 2.2 Influence of Chicago and Detroit </div> </a> <ul id="toc-Influence_of_Chicago_and_Detroit-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Growth_of_the_German_scene" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Growth_of_the_German_scene"> <div class="vector-toc-text"> 2.3 Growth of the German scene </div> </a> <ul id="toc-Growth_of_the_German_scene-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Tekkno_versus_techno" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Tekkno_versus_techno"> <div class="vector-toc-text"> 2.4 Tekkno versus techno </div> </a> <ul id="toc-Tekkno_versus_techno-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Developments" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Developments"> <div class="vector-toc-text"> 3 Developments </div> </a> <button aria-controls="toc-Developments-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Developments subsection </button> <ul id="toc-Developments-sublist" class="vector-toc-list"> <li id="toc-American_exodus" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#American_exodus"> <div class="vector-toc-text"> 3.1 American exodus </div> </a> <ul id="toc-American_exodus-sublist" class="vector-toc-list"> <li id="toc-A_Techno_Alliance" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#A_Techno_Alliance"> <div class="vector-toc-text"> 3.1.1 A Techno Alliance </div> </a> <ul id="toc-A_Techno_Alliance-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Minimal_techno" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Minimal_techno"> <div class="vector-toc-text"> 3.2 Minimal techno </div> </a> <ul id="toc-Minimal_techno-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Jazz_influences" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jazz_influences"> <div class="vector-toc-text"> 3.3 Jazz influences </div> </a> <ul id="toc-Jazz_influences-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Intelligent_techno" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Intelligent_techno"> <div class="vector-toc-text"> 3.4 Intelligent techno </div> </a> <ul id="toc-Intelligent_techno-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Free_techno" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Free_techno"> <div class="vector-toc-text"> 3.5 Free techno </div> </a> <ul id="toc-Free_techno-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Divergence" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Divergence"> <div class="vector-toc-text"> 3.6 Divergence </div> </a> <ul id="toc-Divergence-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Commercial_exposure" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Commercial_exposure"> <div class="vector-toc-text"> 3.7 Commercial exposure </div> </a> <ul id="toc-Commercial_exposure-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Antecedents" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Antecedents"> <div class="vector-toc-text"> 4 Antecedents </div> </a> <button aria-controls="toc-Antecedents-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Antecedents subsection </button> <ul id="toc-Antecedents-sublist" class="vector-toc-list"> <li id="toc-Early_use_of_the_term_'Techno'" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Early_use_of_the_term_'Techno'"> <div class="vector-toc-text"> 4.1 Early use of the term 'Techno' </div> </a> <ul id="toc-Early_use_of_the_term_'Techno'-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Proto-techno" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Proto-techno"> <div class="vector-toc-text"> 4.2 Proto-techno </div> </a> <ul id="toc-Proto-techno-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Prehistory" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Prehistory"> <div class="vector-toc-text"> 4.3 Prehistory </div> </a> <ul id="toc-Prehistory-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Music_production_practice" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Music_production_practice"> <div class="vector-toc-text"> 5 Music production practice </div> </a> <button aria-controls="toc-Music_production_practice-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Music production practice subsection </button> <ul id="toc-Music_production_practice-sublist" class="vector-toc-list"> <li id="toc-Stylistic_considerations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Stylistic_considerations"> <div class="vector-toc-text"> 5.1 Stylistic considerations </div> </a> <ul id="toc-Stylistic_considerations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Compositional_techniques" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Compositional_techniques"> <div class="vector-toc-text"> 5.2 Compositional techniques </div> </a> <ul id="toc-Compositional_techniques-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Retro_technology" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Retro_technology"> <div class="vector-toc-text"> 5.3 Retro technology </div> </a> <ul id="toc-Retro_technology-sublist" class="vector-toc-list"> <li id="toc-Emulation" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Emulation"> <div class="vector-toc-text"> 5.3.1 Emulation </div> </a> <ul id="toc-Emulation-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Technological_advances" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Technological_advances"> <div class="vector-toc-text"> 5.4 Technological advances </div> </a> <ul id="toc-Technological_advances-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Notable_techno_venues" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Notable_techno_venues"> <div class="vector-toc-text"> 6 Notable techno venues </div> </a> <ul id="toc-Notable_techno_venues-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 7 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 8 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bibliography" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Bibliography"> <div class="vector-toc-text"> 9 Bibliography </div> </a> <ul id="toc-Bibliography-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Filmography" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Filmography"> <div class="vector-toc-text"> 10 Filmography </div> </a> <ul id="toc-Filmography-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> 11 Notes </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 12 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" title="Table of Contents" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" > Toggle the table of contents </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading">Techno</h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 61 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-61" aria-hidden="true" > 61 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Techno-musiek" title="Techno-musiek – Afrikaans" lang="af" hreflang="af" data-title="Techno-musiek" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target">Afrikaans</a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%AA%D9%83%D9%86%D9%88" title="تكنو – Arabic" lang="ar" hreflang="ar" data-title="تكنو" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-azb mw-list-item"><a href="https://azb.wikipedia.org/wiki/%D8%AA%DA%A9%D9%86%D9%88" title="تکنو – South Azerbaijani" lang="azb" hreflang="azb" data-title="تکنو" data-language-autonym="تۆرکجه" data-language-local-name="South Azerbaijani" class="interlanguage-link-target">تۆرکجه</a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%A2%D1%8D%D1%85%D0%BD%D0%B0" title="Тэхна – Belarusian" lang="be" hreflang="be" data-title="Тэхна" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target">Беларуская</a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%A2%D1%8D%D1%85%D0%BD%D0%B0" title="Тэхна – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Тэхна" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target">Беларуская (тарашкевіца)</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A2%D0%B5%D1%85%D0%BD%D0%BE" title="Техно – Bulgarian" lang="bg" hreflang="bg" data-title="Техно" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/Techno" title="Techno – Bosnian" lang="bs" hreflang="bs" data-title="Techno" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target">Bosanski</a></li><li class="interlanguage-link interwiki-br mw-list-item"><a href="https://br.wikipedia.org/wiki/Tekno" title="Tekno – Breton" lang="br" hreflang="br" data-title="Tekno" data-language-autonym="Brezhoneg" data-language-local-name="Breton" class="interlanguage-link-target">Brezhoneg</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Tecno" title="Tecno – Catalan" lang="ca" hreflang="ca" data-title="Tecno" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Techno" title="Techno – Czech" lang="cs" hreflang="cs" data-title="Techno" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Techno" title="Techno – Danish" lang="da" hreflang="da" data-title="Techno" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de badge-Q17437798 badge-goodarticle mw-list-item" title="good article badge"><a href="https://de.wikipedia.org/wiki/Techno" title="Techno – German" lang="de" hreflang="de" data-title="Techno" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Tekno" title="Tekno – Estonian" lang="et" hreflang="et" data-title="Tekno" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/Techno" title="Techno – Greek" lang="el" hreflang="el" data-title="Techno" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es badge-Q17437798 badge-goodarticle mw-list-item" title="good article badge"><a href="https://es.wikipedia.org/wiki/Techno" title="Techno – Spanish" lang="es" hreflang="es" data-title="Techno" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Tekno-muziko" title="Tekno-muziko – Esperanto" lang="eo" hreflang="eo" data-title="Tekno-muziko" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Techno" title="Techno – Basque" lang="eu" hreflang="eu" data-title="Techno" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%AA%DA%A9%D9%86%D9%88" title="تکنو – Persian" lang="fa" hreflang="fa" data-title="تکنو" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Techno" title="Techno – French" lang="fr" hreflang="fr" data-title="Techno" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-gd mw-list-item"><a href="https://gd.wikipedia.org/wiki/Teacno" title="Teacno – Scottish Gaelic" lang="gd" hreflang="gd" data-title="Teacno" data-language-autonym="Gàidhlig" data-language-local-name="Scottish Gaelic" class="interlanguage-link-target">Gàidhlig</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Techno" title="Techno – Galician" lang="gl" hreflang="gl" data-title="Techno" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%ED%85%8C%ED%81%AC%EB%85%B8" title="테크노 – Korean" lang="ko" hreflang="ko" data-title="테크노" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-ha mw-list-item"><a href="https://ha.wikipedia.org/wiki/Techno" title="Techno – Hausa" lang="ha" hreflang="ha" data-title="Techno" data-language-autonym="Hausa" data-language-local-name="Hausa" class="interlanguage-link-target">Hausa</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%8F%D5%A5%D5%AD%D5%B6%D5%B8_%D5%A5%D6%80%D5%A1%D5%AA%D5%B7%D5%BF%D5%B8%D6%82%D5%A9%D5%B5%D5%B8%D6%82%D5%B6" title="Տեխնո երաժշտություն – Armenian" lang="hy" hreflang="hy" data-title="Տեխնո երաժշտություն" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Techno" title="Techno – Croatian" lang="hr" hreflang="hr" data-title="Techno" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Tekno_(musik)" title="Tekno (musik) – Indonesian" lang="id" hreflang="id" data-title="Tekno (musik)" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target">Bahasa Indonesia</a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Tekn%C3%B3t%C3%B3nlist" title="Teknótónlist – Icelandic" lang="is" hreflang="is" data-title="Teknótónlist" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target">Íslenska</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Techno" title="Techno – Italian" lang="it" hreflang="it" data-title="Techno" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%98%D7%9B%D7%A0%D7%95" title="טכנו – Hebrew" lang="he" hreflang="he" data-title="טכנו" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%A2%E1%83%94%E1%83%A5%E1%83%9C%E1%83%9D" title="ტექნო – Georgian" lang="ka" hreflang="ka" data-title="ტექნო" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Musica_technica" title="Musica technica – Latin" lang="la" hreflang="la" data-title="Musica technica" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Tehno" title="Tehno – Latvian" lang="lv" hreflang="lv" data-title="Tehno" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Techno" title="Techno – Lithuanian" lang="lt" hreflang="lt" data-title="Techno" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-lmo mw-list-item"><a href="https://lmo.wikipedia.org/wiki/M%C3%BCsega_techno" title="Müsega techno – Lombard" lang="lmo" hreflang="lmo" data-title="Müsega techno" data-language-autonym="Lombard" data-language-local-name="Lombard" class="interlanguage-link-target">Lombard</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Techno" title="Techno – Hungarian" lang="hu" hreflang="hu" data-title="Techno" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A2%D0%B5%D1%85%D0%BD%D0%BE_%D0%BC%D1%83%D0%B7%D0%B8%D0%BA%D0%B0" title="Техно музика – Macedonian" lang="mk" hreflang="mk" data-title="Техно музика" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target">Македонски</a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Tekno" title="Tekno – Malay" lang="ms" hreflang="ms" data-title="Tekno" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target">Bahasa Melayu</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Techno" title="Techno – Dutch" lang="nl" hreflang="nl" data-title="Techno" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%86%E3%82%AF%E3%83%8E_(%E3%83%80%E3%83%B3%E3%82%B9%E3%83%9F%E3%83%A5%E3%83%BC%E3%82%B8%E3%83%83%E3%82%AF)" title="テクノ (ダンスミュージック) – Japanese" lang="ja" hreflang="ja" data-title="テクノ (ダンスミュージック)" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Techno" title="Techno – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Techno" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Techno" title="Techno – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Techno" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/T%C3%A8cno" title="Tècno – Occitan" lang="oc" hreflang="oc" data-title="Tècno" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target">Occitan</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Techno" title="Techno – Polish" lang="pl" hreflang="pl" data-title="Techno" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Techno" title="Techno – Portuguese" lang="pt" hreflang="pt" data-title="Techno" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Techno" title="Techno – Romanian" lang="ro" hreflang="ro" data-title="Techno" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-qu mw-list-item"><a href="https://qu.wikipedia.org/wiki/Techno" title="Techno – Quechua" lang="qu" hreflang="qu" data-title="Techno" data-language-autonym="Runa Simi" data-language-local-name="Quechua" class="interlanguage-link-target">Runa Simi</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A2%D0%B5%D1%85%D0%BD%D0%BE" title="Техно – Russian" lang="ru" hreflang="ru" data-title="Техно" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sco mw-list-item"><a href="https://sco.wikipedia.org/wiki/Techno" title="Techno – Scots" lang="sco" hreflang="sco" data-title="Techno" data-language-autonym="Scots" data-language-local-name="Scots" class="interlanguage-link-target">Scots</a></li><li class="interlanguage-link interwiki-scn mw-list-item"><a href="https://scn.wikipedia.org/wiki/Techno" title="Techno – Sicilian" lang="scn" hreflang="scn" data-title="Techno" data-language-autonym="Sicilianu" data-language-local-name="Sicilian" class="interlanguage-link-target">Sicilianu</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Techno" title="Techno – Simple English" lang="en-simple" hreflang="en-simple" data-title="Techno" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Techno" title="Techno – Slovak" lang="sk" hreflang="sk" data-title="Techno" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Tehno" title="Tehno – Slovenian" lang="sl" hreflang="sl" data-title="Tehno" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target">Slovenščina</a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D8%AA%DB%8E%DA%A9%D9%86%DB%86" title="تێکنۆ – Central Kurdish" lang="ckb" hreflang="ckb" data-title="تێکنۆ" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target">کوردی</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Tehno" title="Tehno – Serbian" lang="sr" hreflang="sr" data-title="Tehno" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Tekno" title="Tekno – Finnish" lang="fi" hreflang="fi" data-title="Tekno" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Techno" title="Techno – Swedish" lang="sv" hreflang="sv" data-title="Techno" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B9%80%E0%B8%97%E0%B8%84%E0%B9%82%E0%B8%99" title="เทคโน – Thai" lang="th" hreflang="th" data-title="เทคโน" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target">ไทย</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Tekno_m%C3%BCzik" title="Tekno müzik – Turkish" lang="tr" hreflang="tr" data-title="Tekno müzik" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A2%D0%B5%D1%85%D0%BD%D0%BE" title="Техно – Ukrainian" lang="uk" hreflang="uk" data-title="Техно" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li 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class="mw-redirect" title="Techno music">Techno music</a>)</div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Genre of electronic dance music</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Not to be confused with <a href="/wiki/Free_tekno" title="Free tekno">(free) tekno music</a>.</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">For the Marvel character, see <a href="/wiki/Fixer_(Marvel_Comics)" title="Fixer (Marvel Comics)">Fixer (Marvel Comics)</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · 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.infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox nowraplinks"><tbody><tr><th colspan="2" class="infobox-above">Techno</th></tr><tr><th scope="row" class="infobox-label">Stylistic origins</th><td class="infobox-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"><ul><li><a href="/wiki/House_music" title="House music">House</a></li><li><a href="/wiki/Electro_(music)" title="Electro (music)">electro</a></li><li><a href="/wiki/Synth-pop" title="Synth-pop">synth-pop</a></li><li><a href="/wiki/Hi-NRG" title="Hi-NRG">Hi-NRG</a></li><li><a href="/wiki/Electronic_body_music" title="Electronic body music">EBM</a></li><li><a href="/wiki/Eurodisco" title="Eurodisco">Eurodisco</a></li><li><a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a></li><li><a href="/wiki/Post-disco" title="Post-disco">post-disco</a></li><li><a href="/wiki/Chicago_house" title="Chicago house">Chicago house</a></li><li><a href="/wiki/Industrial_music" title="Industrial music">industrial</a></li><li><a href="/wiki/Krautrock" title="Krautrock">krautrock</a></li></ul></div></td></tr><tr><th scope="row" class="infobox-label">Cultural origins</th><td class="infobox-data hlist">Mid-1980s, <a href="/wiki/Detroit" title="Detroit">Detroit</a>, United States</td></tr><tr><th scope="row" class="infobox-label">Derivative forms</th><td class="infobox-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"><ul><li><a href="/wiki/Alternative_dance" title="Alternative dance">Alternative dance</a></li><li><a href="/wiki/Trance_music" title="Trance music">trance</a></li></ul></div></td></tr><tr><th colspan="2" class="infobox-header">Subgenres</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"><ul><li><a href="/wiki/Acid_techno" title="Acid techno">Acid techno</a></li><li><a href="/wiki/Ambient_techno" title="Ambient techno">ambient techno</a></li><li><a href="/wiki/Birmingham_sound" title="Birmingham sound">Birmingham sound</a></li><li><a href="/wiki/Bleep_techno" title="Bleep techno">bleep techno</a></li><li><a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a></li><li><a href="/wiki/Dub_techno" title="Dub techno">dub techno</a></li><li><a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">hardcore techno</a></li><li><a href="/wiki/Industrial_techno" title="Industrial techno">industrial techno</a></li><li><a href="/wiki/Minimal_techno" title="Minimal techno">minimal techno</a></li></ul></div></td></tr><tr><th colspan="2" class="infobox-header">Fusion genres</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"><ul><li><a href="/wiki/Afro_tech" title="Afro tech">Afro tech</a></li><li><a href="/wiki/Electroclash" title="Electroclash">electroclash</a><a href="#cite_note-spectator_clash-1">[1]</a></li><li><a href="/wiki/Eurodance" title="Eurodance">Eurodance</a></li><li><a href="/wiki/Gqom" title="Gqom">gqom</a></li><li><a href="/wiki/Ghettotech" title="Ghettotech">ghettotech</a></li><li><a href="/wiki/Hardvapour" title="Hardvapour">hardvapour</a></li><li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">IDM</a></li><li><a href="/wiki/Kuduro" title="Kuduro">kuduro</a></li><li><a href="/wiki/Schaffel" title="Schaffel">schaffel</a></li><li><a href="/wiki/Techstep" title="Techstep">techstep</a></li><li><a href="/wiki/Hardstyle" title="Hardstyle">techstyle</a></li><li><a href="/wiki/Tech_house" title="Tech house">tech house</a></li><li><a href="/wiki/Toytown_techno" title="Toytown techno">toytown techno</a></li></ul></div></td></tr><tr><th colspan="2" class="infobox-header">Regional scenes</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"><ul><li><a href="/wiki/Nortec" title="Nortec">Mexico</a></li><li><a href="/wiki/Tecno_brega" title="Tecno brega">North Brazil</a></li></ul></div></td></tr><tr><th colspan="2" class="infobox-header">Local scenes</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><a href="/wiki/Detroit_techno" title="Detroit techno">Detroit</a></td></tr><tr><th colspan="2" class="infobox-header">Other topics</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"><ul><li><a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">Electronic musical instruments</a></li><li><a href="/wiki/Computer_music" title="Computer music">computer music</a></li><li><a href="/wiki/List_of_electronic_music_record_labels" title="List of electronic music record labels">list of electronic music record labels</a></li><li><a href="/wiki/Rave" title="Rave">rave</a></li><li><a href="/wiki/Free_party" title="Free party">free party</a></li><li><a href="/wiki/Teknival" title="Teknival">teknival</a></li></ul></div></td></tr></tbody></table> Techno is a <a href="/wiki/Music_genre" title="Music genre">genre</a> of <a href="/wiki/Electronic_dance_music" title="Electronic dance music">electronic dance music</a><a href="#cite_note-2">[2]</a> which is generally <a href="/wiki/Record_producer" title="Record producer">produced</a> for use in a continuous <a href="/wiki/DJ_mix" title="DJ mix">DJ set</a>, with <a href="/wiki/Tempo" title="Tempo">tempos</a> being in the range from 120 to 150 beats per minute (bpm). The central <a href="/wiki/Drum_beat" title="Drum beat">rhythm</a> is typically in <a href="/wiki/Time_signature#common_time" title="Time signature">common time</a> (<a href="/wiki/Time_signature" title="Time signature">4 4</a>) and often characterized by a repetitive <a href="/wiki/Four_on_the_floor_(music)" title="Four on the floor (music)">four on the floor</a> <a href="/wiki/Beat_(music)" title="Beat (music)">beat</a>.<a href="#cite_note-3">[3]</a> Artists may use <a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">electronic instruments</a> such as <a href="/wiki/Drum_machine" title="Drum machine">drum machines</a>, <a href="/wiki/Music_sequencer" title="Music sequencer">sequencers</a>, and <a href="/wiki/Synthesizer" title="Synthesizer">synthesizers</a>, as well as <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">digital audio workstations</a>. Drum machines from the 1980s such as <a href="/wiki/Roland_Corporation" title="Roland Corporation">Roland</a>'s <a href="/wiki/Roland_TR-808" title="Roland TR-808">Roland TR-808</a> and <a href="/wiki/Roland_TR-909" title="Roland TR-909">Roland TR-909</a> are highly prized, and <a href="/wiki/Software_synthesizer" title="Software synthesizer">software emulations</a> of such <a href="/wiki/Retro_style" title="Retro style">retro</a> instruments are popular in this style. Much of the instrumentation in techno is used to emphasize the role of <a href="/wiki/Rhythm" title="Rhythm">rhythm</a> over other <a href="/wiki/Elements_of_music" title="Elements of music">musical aspects</a>. <a href="/wiki/Singing" title="Singing">Vocals</a> and <a href="/wiki/Melody" title="Melody">melodies</a> are uncommon. The use of <a href="/wiki/Sound_synthesis" class="mw-redirect" title="Sound synthesis">sound synthesis</a> in developing distinctive <a href="/wiki/Timbre" title="Timbre">timbres</a> tends to feature more prominently. Typical <a href="/wiki/Harmony" title="Harmony">harmonic</a> 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 <a href="/wiki/Music_technology" title="Music technology">music production technology</a>. Use of the term "techno" to refer to a type of <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> originated in <a href="/wiki/Germany" title="Germany">Germany</a> in the early 1980s.<a href="#cite_note-4">[4]</a> In 1988, following the UK release of the compilation <a href="/wiki/Techno!_The_New_Dance_Sound_of_Detroit" title="Techno! The New Dance Sound of Detroit">Techno! The New Dance Sound of Detroit</a>, the term came to be associated with a form of EDM produced in Detroit.<a href="#cite_note-BREW354-5">[5]</a><a href="#cite_note-REYNOLDS71-6">[6]</a> <a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a> resulted from the melding of <a href="/wiki/Synth-pop" title="Synth-pop">synth-pop</a> by artists such as <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a>, <a href="/wiki/Giorgio_Moroder" title="Giorgio Moroder">Giorgio Moroder</a> and <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a> with <a href="/wiki/African_American_music" class="mw-redirect" title="African American music">African American styles</a> such as <a href="/wiki/House_music" title="House music">house</a>, <a href="/wiki/Electro_(music)" title="Electro (music)">electro</a>, and <a href="/wiki/Funk" title="Funk">funk</a>.<a href="#cite_note-bogdanov_2001-7">[7]</a> Added to this is the influence of <a href="/wiki/Futurism_(art)" class="mw-redirect" title="Futurism (art)">futuristic</a> and <a href="/wiki/Science-fiction" class="mw-redirect" title="Science-fiction">science-fiction</a> themes<a href="#cite_note-8">[8]</a> relevant to life in contemporary American society, with <a href="/wiki/Alvin_Toffler" title="Alvin Toffler">Alvin Toffler</a>'s book <a href="/wiki/The_Third_Wave_(Toffler_book)" title="The Third Wave (Toffler book)">The Third Wave</a> a notable point of reference.<a href="#cite_note-9">[9]</a><a href="#cite_note-10">[10]</a> The music produced in the mid-to-late 1980s by <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a>, <a href="/wiki/Derrick_May_(musician)" title="Derrick May (musician)">Derrick May</a>, and <a href="/wiki/Kevin_Saunderson" title="Kevin Saunderson">Kevin Saunderson</a> (collectively known as <a href="/wiki/The_Belleville_Three" title="The Belleville Three">The Belleville Three</a>), along with <a href="/wiki/Eddie_Fowlkes" title="Eddie Fowlkes">Eddie Fowlkes</a>, <a href="/wiki/Blake_Baxter" title="Blake Baxter">Blake Baxter</a>, <a href="/wiki/James_Pennington" title="James Pennington">James Pennington</a> and others is viewed as the first wave of techno from Detroit.<a href="#cite_note-11">[11]</a> After the success of house music in <a href="/wiki/Europe" title="Europe">Europe</a>, techno grew in popularity in the <a href="/wiki/United_Kingdom" title="United Kingdom">United Kingdom</a>, Germany, <a href="/wiki/Belgium" title="Belgium">Belgium</a> and The <a href="/wiki/Netherlands" title="Netherlands">Netherlands</a>. Regional variants quickly evolved and by the early 1990s techno subgenres such as <a href="/wiki/Acid_techno" title="Acid techno">acid</a>, <a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">hardcore</a>, <a href="/wiki/Bleep_techno" title="Bleep techno">bleep</a>, <a href="/wiki/Ambient_techno" title="Ambient techno">ambient</a>, and <a href="/wiki/Dub_techno" title="Dub techno">dub techno</a> 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 <a href="/wiki/Tech_house" title="Tech house">tech house</a> and <a href="/wiki/Trance_music" title="Trance music">trance</a>.<a href="#cite_note-12">[12]</a><a href="#cite_note-13">[13]</a><a href="#cite_note-14">[14]</a><a href="#cite_note-15">[15]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Detroit_techno">Detroit techno</h2>[<a href="/w/index.php?title=Techno&action=edit&section=1" title="Edit section: Detroit techno">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Electro_(music)" title="Electro (music)">Electro (music)</a>, <a href="/wiki/House_music" title="House music">House music</a>, <a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a>, <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a>, and <a href="/wiki/Synthpop" class="mw-redirect" title="Synthpop">Synthpop</a></div> In exploring Detroit techno's origins, writer <a href="/wiki/Kodwo_Eshun" title="Kodwo Eshun">Kodwo Eshun</a> maintains that "Kraftwerk are to techno what <a href="/wiki/Muddy_Waters" title="Muddy Waters">Muddy Waters</a> is to the <a href="/wiki/Rolling_Stones" class="mw-redirect" title="Rolling Stones">Rolling Stones</a>: the authentic, the origin, the real."<a href="#cite_note-KODWO100-16">[16]</a> <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a> has acknowledged that he had an early enthusiasm for Kraftwerk and <a href="/wiki/Giorgio_Moroder" title="Giorgio Moroder">Giorgio Moroder</a>, particularly Moroder's work with <a href="/wiki/Donna_Summer" title="Donna Summer">Donna Summer</a> and the producer's own album <a href="/wiki/E%3DMC%C2%B2_(Giorgio_Moroder_album)" title="E=MC² (Giorgio Moroder album)">E=MC2.</a> Atkins also mentions that "around 1980, I had a tape of nothing but Kraftwerk, <a href="/wiki/Telex_(band)" title="Telex (band)">Telex</a>, <a href="/wiki/Devo" title="Devo">Devo</a>, Giorgio Moroder and <a href="/wiki/Gary_Numan" title="Gary Numan">Gary Numan</a>, and I'd ride around in my car playing it."<a href="#cite_note-MTM-17">[17]</a> Regarding his initial impression of Kraftwerk, Atkins notes that they were "clean and precise" relative to the "weird UFO sounds" featured in his seemingly "<a href="/wiki/Psychedelic_music" title="Psychedelic music">psychedelic</a>" music.<a href="#cite_note-18">[18]</a> Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that "it was just classy and clean, and to us it was beautiful, like outer space. Living around Detroit, there was so little beauty... everything is an ugly mess in Detroit, and so we were attracted to this music. It, like, ignited our imagination!".<a href="#cite_note-19">[19]</a> May has commented that he considered his music a direct continuation of the European synthesizer tradition.<a href="#cite_note-BREW349-20">[20]</a> He also identified Japanese synth-pop act <a href="/wiki/Yellow_Magic_Orchestra" title="Yellow Magic Orchestra">Yellow Magic Orchestra</a>, particularly member <a href="/wiki/Ryuichi_Sakamoto" title="Ryuichi Sakamoto">Ryuichi Sakamoto</a>, and British band <a href="/wiki/Ultravox" title="Ultravox">Ultravox</a>, as influences, along with Kraftwerk.<a href="#cite_note-21">[21]</a> YMO's song "<a href="/wiki/Solid_State_Survivor" title="Solid State Survivor">Technopolis</a>" (1979), a tribute to <a href="/wiki/Tokyo" title="Tokyo">Tokyo</a> 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.<a href="#cite_note-22">[22]</a> 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."<a href="#cite_note-BREW349-20">[20]</a> These early Detroit techno artists additionally employed <a href="/wiki/Science_fiction" title="Science fiction">science fiction</a> imagery to articulate their visions of a transformed society.<a href="#cite_note-23">[23]</a> <div class="mw-heading mw-heading3"><h3 id="School_days">School days</h3>[<a href="/w/index.php?title=Techno&action=edit&section=2" title="Edit section: School days">edit</a>]</div> Prior to achieving notoriety, Atkins, Saunderson, May, and Fowlkes shared common interests as budding musicians, <a href="/wiki/DJ_mix" title="DJ mix">"mix"</a> tape traders, and aspiring DJs.<a href="#cite_note-24">[24]</a> They also found musical inspiration via the <a href="/wiki/Midnight_Funk_Association" class="mw-redirect" title="Midnight Funk Association">Midnight Funk Association</a>, an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including <a href="/wiki/WMKM" title="WMKM">WCHB</a>, <a href="/wiki/WGPR" title="WGPR">WGPR</a>, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "<a href="/wiki/The_Electrifying_Mojo" title="The Electrifying Mojo">The Electrifying Mojo</a>" Johnson.<a href="#cite_note-25">[25]</a> Mojo's show featured <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> by artists such as Giorgio Moroder, Kraftwerk, Yellow Magic Orchestra and <a href="/wiki/Tangerine_Dream" title="Tangerine Dream">Tangerine Dream</a>, alongside the funk sounds of acts such as <a href="/wiki/Parliament_Funkadelic" class="mw-redirect" title="Parliament Funkadelic">Parliament Funkadelic</a> and dance oriented <a href="/wiki/New_wave_music" title="New wave music">new wave music</a> by bands like <a href="/wiki/Devo" title="Devo">Devo</a> and <a href="/wiki/The_B-52%27s" class="mw-redirect" title="The B-52's">the B-52's</a>.<a href="#cite_note-26">[26]</a> Atkins has noted: <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote">He [Mojo] played all the Parliament and <a href="/wiki/Funkadelic" title="Funkadelic">Funkadelic</a> 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 <a href="/wiki/Disco" title="Disco">disco</a> 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 '<a href="/wiki/(Not_Just)_Knee_Deep" title="(Not Just) Knee Deep">Knee Deep</a>' came out, that just put the last nail in the coffin of disco music.<a href="#cite_note-MTM-17">[17]</a></blockquote> Despite the short-lived <a href="/wiki/Disco" title="Disco">disco</a> boom in Detroit, it had the effect of inspiring many individuals to take up mixing, Juan Atkins among them. Subsequently, Atkins taught May how to mix records, and in 1981, "Magic Juan", Derrick "Mayday", in conjunction with three other DJ's, one of whom was Eddie "Flashin" Fowlkes, launched themselves as a party crew called Deep Space Soundworks<a href="#cite_note-27">[27]</a><a href="#cite_note-28">[28]</a> (also referred to as Deep Space).<a href="#cite_note-29">[29]</a> 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.<a href="#cite_note-MTM-17">[17]</a> During the late 1970s and early 1980s, high school clubs such as Brats, Charivari, Ciabattino, Comrades, Gables, Hardwear, Rafael, Rumours, Snobs, and Weekends<a href="#cite_note-30">[30]</a> allowed the young promoters to develop and nurture a local dance music scene. As the local scene grew in popularity, DJs began to band together to market their mixing skills and <a href="/wiki/Sound_system_(DJ)" title="Sound system (DJ)">sound systems</a> to clubs that were hoping to attract larger audiences. Local church activity centers, vacant warehouses, offices, and <a href="/wiki/YMCA" title="YMCA">YMCA</a> auditoriums were the early locations where the musical form was nurtured.<a href="#cite_note-31">[31]</a> <div class="mw-heading mw-heading3"><h3 id="Juan_Atkins">Juan Atkins</h3>[<a href="/w/index.php?title=Techno&action=edit&section=3" title="Edit section: Juan Atkins">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a> and <a href="/wiki/Cybotron_(American_band)" title="Cybotron (American band)">Cybotron (American band)</a></div> Of the four individuals responsible for establishing techno as a genre in its own right, Juan Atkins is widely cited as "The Originator".<a href="#cite_note-32">[32]</a> In 1995, the American music technology publication <a href="/wiki/Keyboard_Magazine" class="mw-redirect" title="Keyboard Magazine">Keyboard Magazine</a> honored him as one of 12 Who Count in the history of keyboard music.<a href="#cite_note-33">[33]</a> 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,<a href="#cite_note-34">[34]</a> the most successful of which were <a href="/wiki/Clear_(Cybotron_song)" title="Clear (Cybotron song)">Clear</a> (1983) and its moodier followup, "Techno City" (1984).<a href="#cite_note-35">[35]</a><a href="#cite_note-36">[36]</a> Atkins used the term techno to describe Cybotron's music, taking inspiration from <a href="/wiki/Futurist" title="Futurist">Futurist</a> author Alvin Toffler, the original source for words such as cybotron and metroplex. 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.<a href="#cite_note-37">[37]</a> Atkins viewed Cybotron's Cosmic Cars (1982) as unique, Germanic, synthesized funk, but he later heard <a href="/wiki/Afrika_Bambaataa" title="Afrika Bambaataa">Afrika Bambaataa</a>'s "<a href="/wiki/Planet_Rock_(song)" title="Planet Rock (song)">Planet Rock</a>" (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.<a href="#cite_note-38">[38]</a> Eventually, Atkins started producing his own music under the pseudonym <a href="/wiki/Juan_Atkins" title="Juan Atkins">Model 500</a>, and in 1985 he established the record label <a href="/wiki/Metroplex_(record_label)" title="Metroplex (record label)">Metroplex</a>.<a href="#cite_note-39">[39]</a> The same year saw an important turning point for the Detroit scene with the release of Model 500's "<a href="/wiki/No_UFO%27s" title="No UFO's">No UFO's</a>," a seminal work that is generally considered the first techno production.<a href="#cite_note-40">[40]</a><a href="#cite_note-41">[41]</a><a href="#cite_note-42">[42]</a><a href="#cite_note-43">[43]</a><a href="#cite_note-44">[44]</a> Of this time, Atkins has said: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">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 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.<a href="#cite_note-MTM-17">[17]</a></blockquote> <div class="mw-heading mw-heading3"><h3 id="Chicago">Chicago</h3>[<a href="/w/index.php?title=Techno&action=edit&section=4" title="Edit section: Chicago">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Chicago_house" title="Chicago house">Chicago house</a> and <a href="/wiki/House_music" title="House music">House music</a></div> The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and influenced by house in particular.<a href="#cite_note-45">[45]</a><a href="#cite_note-DFP-46">[46]</a> May's 1987 hit "<a href="/wiki/Strings_of_Life" title="Strings of Life">Strings of Life</a>" (released under the alias Rhythim Is Rhythim [sic]) is considered a classic in both the house and techno genres.<a href="#cite_note-DFP-46">[46]</a><a href="#cite_note-47">[47]</a><a href="#cite_note-48">[48]</a> Juan Atkins also believes that the first <a href="/wiki/Acid_house" title="Acid house">acid house</a> producers, seeking to distance house music from disco, emulated the techno sound.<a href="#cite_note-49">[49]</a> Atkins also suggests that the Chicago house sound developed as a result of <a href="/wiki/Frankie_Knuckles" title="Frankie Knuckles">Frankie Knuckles</a>' using a drum machine he bought from Derrick May.<a href="#cite_note-50">[50]</a> He claims: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">Derrick sold Chicago DJ Frankie Knuckles a TR909 drum machine. This was back when the Powerplant was open in Chicago, but before any of the Chicago DJs were making records. They were all into playing Italian imports; 'No UFOs' was the only U.S.-based independent record that they played. So Frankie Knuckles started using the 909 at his shows at the Powerplant. Boss had just brought out their little sampling footpedal, and somebody took one along there. Somebody was on the mic, and they sampled that and played it over the drumtrack pattern. Having got the drum machine and the sampler, they could make their own tunes to play at parties. One thing just led to another, and Chip E used the 909 to make his own record, and from then on, all these DJs in Chicago borrowed that 909 to come out with their own records.<a href="#cite_note-MTM-17">[17]</a></blockquote> 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 <a href="/wiki/Mike_Pickering" title="Mike Pickering">Mike Pickering</a>, <a href="/wiki/Mark_Moore" title="Mark Moore">Mark Moore</a>, <a href="/wiki/Colin_Faver" title="Colin Faver">Colin Faver</a>, and <a href="/wiki/Graeme_Park_(DJ)" title="Graeme Park (DJ)">Graeme Park (DJ)</a>.<a href="#cite_note-Rietveld_1998:40–50-51">[51]</a> <div class="mw-heading mw-heading3"><h3 id="Detroit_sound">Detroit sound</h3>[<a href="/w/index.php?title=Techno&action=edit&section=5" title="Edit section: Detroit sound">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:The_Belleville_Three_at_The_Detroit_Masonic_Temple_2017_2.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6c/The_Belleville_Three_at_The_Detroit_Masonic_Temple_2017_2.png/220px-The_Belleville_Three_at_The_Detroit_Masonic_Temple_2017_2.png" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6c/The_Belleville_Three_at_The_Detroit_Masonic_Temple_2017_2.png/330px-The_Belleville_Three_at_The_Detroit_Masonic_Temple_2017_2.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6c/The_Belleville_Three_at_The_Detroit_Masonic_Temple_2017_2.png/440px-The_Belleville_Three_at_The_Detroit_Masonic_Temple_2017_2.png 2x" data-file-width="4608" data-file-height="3062" /></a><figcaption><a href="/wiki/The_Belleville_Three" title="The Belleville Three">The Belleville Three</a> performing at the <a href="/wiki/Detroit_Masonic_Temple" title="Detroit Masonic Temple">Detroit Masonic Temple</a> in 2017. From left to right: <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a>, <a href="/wiki/Kevin_Saunderson" title="Kevin Saunderson">Kevin Saunderson</a>, and <a href="/wiki/Derrick_May_(musician)" title="Derrick May (musician)">Derrick May</a></figcaption></figure> The early producers, enabled by the increasing affordability of sequencers and synthesizers, merged a European synth-pop aesthetic with aspects of <a href="/wiki/Soul_music" title="Soul music">soul</a>, funk, disco, and electro, pushing EDM into uncharted terrain. They deliberately rejected the <a href="/wiki/Motown_Records" class="mw-redirect" title="Motown Records">Motown</a> legacy and traditional formulas of <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">R&B</a> and soul, and instead embraced technological experimentation.<a href="#cite_note-COSGROVE_ATKINS-52">[52]</a><a href="#cite_note-COSGROVE_POSTSOUL-53">[53]</a><a href="#cite_note-NDSOD_ELEVATOR-54">[54]</a><a href="#cite_note-55">[55]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">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!<div class="templatequotecite">— <cite>Juan Atkins, 1988<a href="#cite_note-COSGROVE_ATKINS-52">[52]</a></cite></div></blockquote> The resulting Detroit sound was interpreted by Derrick May and one journalist in 1988 as a "post-soul" sound with no debt to <a href="/wiki/Motown_Records" class="mw-redirect" title="Motown Records">Motown</a>,<a href="#cite_note-COSGROVE_POSTSOUL-53">[53]</a><a href="#cite_note-NDSOD_ELEVATOR-54">[54]</a> but by another journalist a decade later as "soulful grooves" melding the beat-centric styles of Motown with the music technology of the time.<a href="#cite_note-56">[56]</a> May described the sound of techno as something that is "...like Detroit...a complete mistake. It's like <a href="/wiki/George_Clinton_(funk_musician)" title="George Clinton (funk musician)">George Clinton</a> and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."<a href="#cite_note-COSGROVE_POSTSOUL-53">[53]</a><a href="#cite_note-NDSOD_ELEVATOR-54">[54]</a> Juan Atkins has stated that it is "music that sounds like technology, and not technology that sounds like music, meaning that most of the music you listen to is made with technology, whether you know it or not. But with techno music, you know it."<a href="#cite_note-57">[57]</a> One of the first Detroit productions to receive wider attention was Derrick May's "<a href="/wiki/Derrick_May_(musician)#Career" title="Derrick May (musician)">Strings of Life</a>" (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 <a href="/wiki/Second_Summer_of_Love" title="Second Summer of Love">Second Summer of Love</a>).<a href="#cite_note-58">[58]</a> 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."<a href="#cite_note-techno.de-59">[59]</a> <div class="mw-heading mw-heading3"><h3 id="Acid_house">Acid house</h3>[<a href="/w/index.php?title=Techno&action=edit&section=6" title="Edit section: Acid house">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Acid_house" title="Acid house">Acid house</a>, <a href="/wiki/Rave" title="Rave">Rave</a>, and <a href="/wiki/Second_Summer_of_Love" title="Second Summer of Love">Second Summer of Love</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:TB-303.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/TB-303.jpg/250px-TB-303.jpg" decoding="async" width="200" height="162" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/TB-303.jpg/330px-TB-303.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1d/TB-303.jpg/400px-TB-303.jpg 2x" data-file-width="402" data-file-height="326" /></a><figcaption><a href="/wiki/Roland_TB-303" title="Roland TB-303">Roland TB-303</a>: The <a href="/wiki/Bass_synthesizer" class="mw-redirect" title="Bass synthesizer">bass line synthesizer</a> that was used prominently in <a href="/wiki/Acid_house" title="Acid house">acid house</a>.</figcaption></figure> By 1988, house music had exploded in the UK, and acid house was increasingly popular.<a href="#cite_note-Rietveld_1998:40–50-51">[51]</a> There was also a long-established warehouse party <a href="/wiki/Subculture" title="Subculture">subculture</a> based around the <a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">sound system</a> scene. In 1988, the music played at warehouse parties was predominantly house. That same year, the <a href="/wiki/Balearic_beat" title="Balearic beat">Balearic</a> party vibe associated with Ibiza-based DJ <a href="/wiki/Alfredo_Fiorito" title="Alfredo Fiorito">Alfredo Fiorito</a> was transported to London, when <a href="/wiki/Danny_Rampling" title="Danny Rampling">Danny Rampling</a> and <a href="/wiki/Paul_Oakenfold" title="Paul Oakenfold">Paul Oakenfold</a> 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 <a href="/wiki/MDMA" title="MDMA">MDMA</a>, as a party drug, started to gain prominence. Other important UK clubs at this time included Back to Basics in <a href="/wiki/Leeds" title="Leeds">Leeds</a>, Sheffield's Leadmill and Music Factory, and in Manchester <a href="/wiki/The_Ha%C3%A7ienda" title="The Haçienda">The Haçienda</a>, where Mike Pickering and Graeme Park's Friday night spot, Nude, was an important proving ground for American <a href="/wiki/Underground_music" title="Underground music">underground</a><a href="#cite_note-60">[60]</a> <a href="/wiki/Dance_music" title="Dance music">dance music</a>. Acid house party fever escalated in London and Manchester, and it quickly became a cultural phenomenon. MDMA-fueled club goers, faced with 2 A.M. closing hours, sought refuge in the warehouse party scene that ran all night. To escape the attention of the press and the authorities, this after-hours activity quickly went underground. Within a year, however, up to 10,000 people at a time were attending the first commercially organized mass parties, called raves, and a media storm ensued.<a href="#cite_note-61">[61]</a> 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;<a href="#cite_note-62">[62]</a> but in 1987, it was "Strings of Life" which eased London club-goers into acceptance of house, according to DJ Mark Moore.<a href="#cite_note-63">[63]</a><a href="#cite_note-64">[64]</a> <div class="mw-heading mw-heading3"><h3 id="The_New_Dance_Sound_of_Detroit">The New Dance Sound of Detroit</h3>[<a href="/w/index.php?title=Techno&action=edit&section=7" title="Edit section: The New Dance Sound of Detroit">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Techno!_The_New_Dance_Sound_of_Detroit" title="Techno! The New Dance Sound of Detroit">Techno! The New Dance Sound of Detroit</a></div> The mid-1988 UK release of Techno! The New Dance Sound of Detroit,<a href="#cite_note-Sicko_1999:98-65">[65]</a><a href="#cite_note-discogs-66">[66]</a> an album compiled by ex-<a href="/wiki/Northern_soul" title="Northern soul">Northern Soul</a> DJ and Kool Kat Records boss <a href="/wiki/Neil_Rushton" title="Neil Rushton">Neil Rushton</a> (at the time an <a href="/wiki/A%26R" class="mw-redirect" title="A&R">A&R</a> scout for Virgin's "10 Records" imprint) and Derrick May, introduced of the word techno to UK audiences.<a href="#cite_note-BREW354-5">[5]</a><a href="#cite_note-REYNOLDS71-6">[6]</a> Although the compilation put techno 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.<a href="#cite_note-REYNOLDS71-6">[6]</a><a href="#cite_note-67">[67]</a> The compilation's working title had been The House Sound of Detroit until the addition of Atkins' song "Techno Music" prompted reconsideration.<a href="#cite_note-Sicko_1999:98-65">[65]</a><a href="#cite_note-AtkinsAfroPop-68">[68]</a> Rushton was later quoted as saying he, Atkins, May, and Saunderson came up with the compilation's final name together, and that the Belleville Three voted down calling the music some kind of regional brand of house; they instead favored a term they were already using, techno.<a href="#cite_note-REYNOLDS71-6">[6]</a><a href="#cite_note-AtkinsAfroPop-68">[68]</a><a href="#cite_note-69">[69]</a> Derrick May views this as one of his busiest times and recalls that it was a period where he <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">I was working with <a href="/wiki/Carl_Craig" title="Carl Craig">Carl Craig</a>, helping Kevin, helping Juan, trying to put Neil Rushton in the right position to meet everybody, trying to get <a href="/wiki/Blake_Baxter" title="Blake Baxter">Blake Baxter</a> endorsed so that everyone liked him, trying to convince Shake (<a href="/wiki/Anthony_Shakir" title="Anthony Shakir">Anthony Shakir</a>) 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.<a href="#cite_note-Sicko_1999:98-65">[65]</a></blockquote> Commercially, the release did not fare as well and failed to <a href="/wiki/Recoupment" title="Recoupment">recoup</a>, but Inner City's production "<a href="/wiki/Big_Fun_(Inner_City_song)" title="Big Fun (Inner City song)">Big Fun</a>" (1988), a track that was almost not included on the compilation, became a <a href="/wiki/Crossover_music" title="Crossover music">crossover</a> hit in fall 1988.<a href="#cite_note-Sicko2010_118120-70">[70]</a> The record was also responsible for bringing industry attention to May, Atkins and Saunderson, which led to discussions with <a href="/wiki/ZTT" class="mw-redirect" title="ZTT">ZTT</a> records about forming a techno <a href="/wiki/Supergroup_(music)" title="Supergroup (music)">supergroup</a> called Intellex. But, when the group were on the verge of finalising their contract, May allegedly refused to agree to <a href="/wiki/Top_of_the_Pops" title="Top of the Pops">Top of the Pops</a> appearances and negotiations collapsed.<a href="#cite_note-71">[71]</a> According to May, ZTT label boss <a href="/wiki/Trevor_Horn" title="Trevor Horn">Trevor Horn</a> had envisaged that the trio would be marketed as a "black <a href="/wiki/Petshop_Boys" class="mw-redirect" title="Petshop Boys">Petshop Boys</a>."<a href="#cite_note-FantaziaMay-72">[72]</a> Despite <a href="/wiki/Virgin_Records" title="Virgin Records">Virgin Records</a>' disappointment with the poor sales of Rushton's compilation,<a href="#cite_note-73">[73]</a> 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.<a href="#cite_note-74">[74]</a> 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.<a href="#cite_note-SICKO95_120-75">[75]</a><a href="#cite_note-76">[76]</a> <div class="mw-heading mw-heading3"><h3 id="Music_Institute">Music Institute</h3>[<a href="/w/index.php?title=Techno&action=edit&section=8" title="Edit section: Music Institute">edit</a>]</div> 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 <a href="/wiki/George_Baker_(Dutch_singer)" title="George Baker (Dutch singer)">George Baker</a> and <a href="/wiki/Alton_Miller" title="Alton Miller">Alton Miller</a> with Darryl Wynn and Derrick May participating as Friday night DJs, and Baker and Chez Damier playing to a mostly <a href="/wiki/Homosexuality" title="Homosexuality">gay</a> crowd on Saturday nights. The club closed on 24 November 1989, with Derrick May playing "Strings of Life" along with a recording of clock tower bells.<a href="#cite_note-SICKO92-77">[77]</a> May explains: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">It all happened at the right time by mistake, and it didn't last because it wasn't supposed to last. Our careers took off right around the time we [the MI] had to close, and maybe it was the best thing. I think we were peaking – we were so full of energy and we didn't know who we were or [how to] realize our potential. We had no inhibitions, no standards, we just did it. That's why it came off so fresh and innovative, and that's why <abbr style="text-decoration:none;border-bottom:1px dotted black;margin-bottom:1px;" title="quote text omitted">…</abbr> we got the best of the best.<a href="#cite_note-SICKO92-77">[77]</a></blockquote> Though short-lived, MI was known internationally for its all-night sets, its sparse white rooms, and its juice bar stocked with "<a href="/wiki/Smart_drinks" class="mw-redirect" title="Smart drinks">smart drinks</a>" (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."<a href="#cite_note-SICKO92-77">[77]</a> <div class="mw-heading mw-heading2"><h2 id="German_techno">German techno</h2>[<a href="/w/index.php?title=Techno&action=edit&section=9" title="Edit section: German techno">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Tresor_(club)" title="Tresor (club)">Tresor (club)</a>, <a href="/wiki/Love_Parade" title="Love Parade">Love Parade</a>, <a href="/wiki/Hardcore_techno" class="mw-redirect" title="Hardcore techno">Hardcore techno</a>, <a href="/wiki/Gabber" title="Gabber">Gabber</a>, <a href="/wiki/Electronic_body_music" title="Electronic body music">Electronic body music</a>, and <a href="/wiki/Trance_music" title="Trance music">Trance music</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Dorian_Gray_FFM.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Dorian_Gray_FFM.jpg/170px-Dorian_Gray_FFM.jpg" decoding="async" width="170" height="128" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Dorian_Gray_FFM.jpg/255px-Dorian_Gray_FFM.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Dorian_Gray_FFM.jpg/340px-Dorian_Gray_FFM.jpg 2x" data-file-width="500" data-file-height="375" /></a><figcaption>Doorway to <a href="/wiki/Dorian_Gray_(club)" title="Dorian Gray (club)">Dorian Gray</a> in <a href="/wiki/Frankfurt_am_Main" class="mw-redirect" title="Frankfurt am Main">Frankfurt</a>, venue of the dance event Technoclub by Talla 2XLC</figcaption></figure> In 1982, while working at Frankfurt's City Music record store, DJ <a href="/w/index.php?title=Talla_2XLC&action=edit&redlink=1" class="new" title="Talla 2XLC (page does not exist)">Talla 2XLC</a> [<a href="https://de.wikipedia.org/wiki/Talla_2XLC" class="extiw" title="de:Talla 2XLC">de</a>] started to use the term techno to categorize artists such as <a href="/wiki/Depeche_Mode" title="Depeche Mode">Depeche Mode</a>, <a href="/wiki/Front_242" title="Front 242">Front 242</a>, <a href="/wiki/Heaven_17" title="Heaven 17">Heaven 17</a>, <a href="/wiki/Kraftwerk" title="Kraftwerk">Kraftwerk</a> and <a href="/wiki/New_Order_(band)" title="New Order (band)">New Order</a>, with the word used as shorthand for technologically created dance music. Talla's categorization became a point of reference for other DJs, including <a href="/wiki/Sven_V%C3%A4th" title="Sven Väth">Sven Väth</a>.<a href="#cite_note-techno_term-78">[78]</a><a href="#cite_note-techno_term_talla2xlc-79">[79]</a> Talla further popularized the term in Germany when he founded <a href="/w/index.php?title=Technoclub&action=edit&redlink=1" class="new" title="Technoclub (page does not exist)">Technoclub</a> [<a href="https://de.wikipedia.org/wiki/Technoclub" class="extiw" title="de:Technoclub">de</a>] at Frankfurt's No Name Club in 1984, which later moved to the <a href="/wiki/Dorian_Gray_(club)" title="Dorian Gray (club)">Dorian Gray</a> club in 1987.<a href="#cite_note-techno_term-78">[78]</a><a href="#cite_note-techno_term_talla2xlc-79">[79]</a> Talla's club spot served as the hub for the regional EBM and electronic music scene, and according to <a href="/w/index.php?title=J%C3%BCrgen_Laarmann&action=edit&redlink=1" class="new" title="Jürgen Laarmann (page does not exist)">Jürgen Laarmann</a> [<a href="https://de.wikipedia.org/wiki/J%C3%BCrgen_Laarmann" class="extiw" title="de:Jürgen Laarmann">de</a>], of <a href="/wiki/Frontpage_(techno_magazine)" title="Frontpage (techno magazine)">Frontpage</a> magazine, it had historical merit in being the first club in Germany to play almost exclusively EDM.<a href="#cite_note-Sextro,_M._2008-80">[80]</a> <div class="mw-heading mw-heading3"><h3 id="Frankfurt_tape_scene">Frankfurt tape scene</h3>[<a href="/w/index.php?title=Techno&action=edit&section=10" title="Edit section: Frankfurt tape scene">edit</a>]</div> 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 Frankfurt tape scene. The Frankfurt tape scene evolved around the early and experimental work done by the likes of Tobias Freund, <a href="/wiki/Uwe_Schmidt" title="Uwe Schmidt">Uwe Schmidt</a>, Lars Müller and Martin Schopf.<a href="#cite_note-81">[81]</a> Some of the work done by Andreas Tomalla, Markus Nikolai and Thomas Franzmann evolved in collaborative work under the <a href="/wiki/Bigod_20" title="Bigod 20">Bigod 20</a> collective. While this early work was strongly characterized as experimental electronic music fused with strong EBM, <a href="/wiki/Krautrock" title="Krautrock">krautrock</a>, synth-pop and <a href="/wiki/Technopop" class="mw-redirect" title="Technopop">technopop</a> influences, the later work during the mid and late 1980s clearly transitioned to a clear techno sound. <div class="mw-heading mw-heading3"><h3 id="Influence_of_Chicago_and_Detroit">Influence of Chicago and Detroit</h3>[<a href="/w/index.php?title=Techno&action=edit&section=11" title="Edit section: Influence of Chicago and Detroit">edit</a>]</div> By 1987 a German party scene based around the Chicago sound was well established.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] In the late 1980s, acid house also established itself in <a href="/wiki/West_Germany" title="West Germany">West Germany</a> as a new trend in clubs and discotheques.<a href="#cite_note-Tele_5-82">[82]</a>[<a href="/wiki/Wikipedia:NOTRS" class="mw-redirect" title="Wikipedia:NOTRS">better source needed</a>] In 1988, the <a href="/wiki/Ufo_(Club,_Berlin)" class="mw-redirect" title="Ufo (Club, Berlin)">Ufo</a> opened in <a href="/wiki/West_Berlin" title="West Berlin">West Berlin</a>, an illegal venue for acid house parties, which existed until 1990.<a href="#cite_note-ROBB-83">[83]</a>[<a href="/wiki/Wikipedia:Reliable_sources" title="Wikipedia:Reliable sources">unreliable source?</a>] In <a href="/wiki/Munich" title="Munich">Munich</a> at this time, the Negerhalle (1983–1989) and the ETA-Halle 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.<a href="#cite_note-ertl-84">[84]</a><a href="#cite_note-mjunikdisco-85">[85]</a> In July 1989 <a href="/w/index.php?title=Dr._Motte&action=edit&redlink=1" class="new" title="Dr. Motte (page does not exist)">Dr. Motte</a> [<a href="https://de.wikipedia.org/wiki/Dr._Motte" class="extiw" title="de:Dr. Motte">de</a>] and <a href="/wiki/Danielle_de_Picciotto" title="Danielle de Picciotto">Danielle de Picciotto</a> organized the first <a href="/wiki/Love_Parade" title="Love Parade">Love Parade</a> in West Berlin, just a few months before the <a href="/wiki/Fall_of_the_Berlin_Wall" title="Fall of the Berlin Wall">Fall of the Berlin Wall</a>.<a href="#cite_note-electronicbeats_loveparade-86">[86]</a> <div class="mw-heading mw-heading3"><h3 id="Growth_of_the_German_scene">Growth of the German scene</h3>[<a href="/w/index.php?title=Techno&action=edit&section=12" title="Edit section: Growth of the German scene">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Tresor_-_Berlin.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/96/Tresor_-_Berlin.jpg/250px-Tresor_-_Berlin.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/96/Tresor_-_Berlin.jpg/330px-Tresor_-_Berlin.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/96/Tresor_-_Berlin.jpg/500px-Tresor_-_Berlin.jpg 2x" data-file-width="1469" data-file-height="1102" /></a><figcaption>The original <a href="/wiki/Tresor_(club)" title="Tresor (club)">Tresor</a> club (1991–2005)</figcaption></figure> Following the fall of the Berlin Wall on 9 November 1989 and the <a href="/wiki/German_reunification" title="German reunification">German reunification</a> in October 1990, free underground techno parties mushroomed in <a href="/wiki/East_Berlin" title="East Berlin">East Berlin</a>.<a href="#cite_note-ROBB-83">[83]</a> East German DJ <a href="/wiki/Paul_van_Dyk" title="Paul van Dyk">Paul van Dyk</a> has remarked that techno was a major force in reestablishing social connections between East and West Germany during the unification period.<a href="#cite_note-87">[87]</a> 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 <a href="/wiki/Tresor_(club)" title="Tresor (club)">Tresor</a> (est. 1991), the Planet (1991–1993), the <a href="/wiki/Bunker_(Berlin)" class="mw-redirect" title="Bunker (Berlin)">Bunker</a> (1992–1996), and the <a href="/wiki/E-Werk_(Berlin)" title="E-Werk (Berlin)">E-Werk</a> (1993–1997).<a href="#cite_note-BREW361-88">[88]</a><a href="#cite_note-89">[89]</a> It was in Tresor at this time that a trend in paramilitary clothing was established (amongst the techno fraternity) by DJ <a href="/wiki/Tanith_(DJ)" title="Tanith (DJ)">Tanith</a>;<a href="#cite_note-90">[90]</a> possibly as an expression of a commitment to the underground aesthetic of the music, or perhaps influenced by <a href="/wiki/Underground_Resistance_(band)" class="mw-redirect" title="Underground Resistance (band)">UR</a>'s paramilitary posturing.<a href="#cite_note-91">[91]</a> In the same period, German DJs began intensifying the speed and abrasiveness of the sound, as an acid infused techno began transmuting into <a href="/wiki/Hardcore_techno" class="mw-redirect" title="Hardcore techno">hardcore</a>.<a href="#cite_note-92">[92]</a> DJ Tanith commented at the time that "Berlin was always hardcore, hardcore <a href="/wiki/Hippie" title="Hippie">hippie</a>, hardcore punk, and now we have a very hardcore house sound."<a href="#cite_note-BREW361-88">[88]</a> This emerging sound is thought to have been influenced by Dutch <a href="/wiki/Gabber" title="Gabber">gabber</a> and Belgian hardcore; styles that were in their own perverse way paying homage to <a href="/wiki/Underground_Resistance_(band)" class="mw-redirect" title="Underground Resistance (band)">Underground Resistance</a> and Richie Hawtin's <a href="/wiki/Plus_8_Records" class="mw-redirect" title="Plus 8 Records">Plus 8 Records</a>. Other influences on the development of this style were European <a href="/wiki/Electronic_body_music" title="Electronic body music">electronic body music</a> (EBM) groups of the mid-1980s such as <a href="/wiki/Deutsch_Amerikanische_Freundschaft" title="Deutsch Amerikanische Freundschaft">DAF</a>, <a href="/wiki/Front_242" title="Front 242">Front 242</a>, and <a href="/wiki/Nitzer_Ebb" title="Nitzer Ebb">Nitzer Ebb</a>.<a href="#cite_note-93">[93]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:DJ_Tanith_1994_(3).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/DJ_Tanith_1994_%283%29.jpg/250px-DJ_Tanith_1994_%283%29.jpg" decoding="async" width="150" height="230" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e7/DJ_Tanith_1994_%283%29.jpg/330px-DJ_Tanith_1994_%283%29.jpg 2x" data-file-width="627" data-file-height="961" /></a><figcaption><a href="/wiki/Tanith_(DJ)" title="Tanith (DJ)">Tanith</a> in 1994</figcaption></figure> 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 <a href="/wiki/Omen" title="Omen">Omen</a> 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 <a href="/wiki/Sven_V%C3%A4th" title="Sven Väth">Sven Väth</a> 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.<a href="#cite_note-Sextro,_M._2008-80">[80]</a> One of the few real alternatives then was The Bruckenkopf in <a href="/wiki/Mainz" title="Mainz">Mainz</a>, underneath a Rhine bridge, a venue that offered a non-commercial alternative to Frankfurt's <a href="/wiki/Discoth%C3%A8que" class="mw-redirect" title="Discothèque">discothèque</a>-based clubs. Other notable underground parties were those run by <a href="/w/index.php?title=Force_Inc._Music_Works&action=edit&redlink=1" class="new" title="Force Inc. Music Works (page does not exist)">Force Inc. Music Works</a> [<a href="https://de.wikipedia.org/wiki/Force_Inc._Music_Works" class="extiw" title="de:Force Inc. Music Works">de</a>] and <a href="/w/index.php?title=Ata_(DJ)&action=edit&redlink=1" class="new" title="Ata (DJ) (page does not exist)">Ata</a> [<a href="https://de.wikipedia.org/wiki/Ata_(DJ)" class="extiw" title="de:Ata (DJ)">de</a>] & <a href="/w/index.php?title=Heiko_M/S/O&action=edit&redlink=1" class="new" title="Heiko M/S/O (page does not exist)">Heiko</a> [<a href="https://de.wikipedia.org/wiki/Heiko_M/S/O" class="extiw" title="de:Heiko M/S/O">de</a>] from Playhouse records (<a href="/w/index.php?title=Ongaku_Musik&action=edit&redlink=1" class="new" title="Ongaku Musik (page does not exist)">Ongaku Musik</a> [<a href="https://de.wikipedia.org/wiki/Ongaku_Musik" class="extiw" title="de:Ongaku Musik">de</a>]). By 1992 <a href="/w/index.php?title=DJ_Dag&action=edit&redlink=1" class="new" title="DJ Dag (page does not exist)">DJ Dag</a> [<a href="https://de.wikipedia.org/wiki/DJ_Dag" class="extiw" title="de:DJ Dag">de</a>] & <a href="/wiki/Torsten_Fenslau" title="Torsten Fenslau">Torsten Fenslau</a> were running a Sunday morning session at <a href="/wiki/Dorian_Gray_(club)" title="Dorian Gray (club)">Dorian Gray</a>, a plush discothèque near the <a href="/wiki/Frankfurt_airport" class="mw-redirect" title="Frankfurt airport">Frankfurt airport</a>. They initially played a mix of different styles including Belgian <a href="/wiki/New_beat" title="New beat">new beat</a>, <a href="/wiki/Deep_House" class="mw-redirect" title="Deep House">Deep House</a>, 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.<a href="#cite_note-Sextro,_M._2008-80">[80]</a> In 1990, the <a href="/wiki/Babalu_Club" title="Babalu Club">Babalu Club</a>, the first <a href="/wiki/Afterhours_club" title="Afterhours club">afterhours</a> techno club in Germany, opened in Munich and was a place for the formation of the southern German techno scene, where protagonists such as <a href="/wiki/DJ_Hell" title="DJ Hell">DJ Hell</a>, <a href="/wiki/Monika_Kruse" title="Monika Kruse">Monika Kruse</a>, <a href="/wiki/Tom_Novy" title="Tom Novy">Tom Novy</a> or <a href="/w/index.php?title=Woody_(DJ)&action=edit&redlink=1" class="new" title="Woody (DJ) (page does not exist)">Woody</a> [<a href="https://de.wikipedia.org/wiki/Woody_(DJ)" class="extiw" title="de:Woody (DJ)">de</a>] came together.<a href="#cite_note-ertl-84">[84]</a><a href="#cite_note-mjunikdisco-85">[85]</a><a href="#cite_note-spiegel_19960714-94">[94]</a> In 1993–94 rave became a mainstream music phenomenon in Germany, seeing with it a return to "melody, New Age elements, insistently kitsch harmonies and timbres". This undermining of the German underground sound lead to the consolidation of a German "rave establishment," spearheaded by the party organisation <a href="/wiki/Mayday_(music_festival)" title="Mayday (music festival)">Mayday</a>, with its record label <a href="/wiki/Low_Spirit" title="Low Spirit">Low Spirit</a>, <a href="/wiki/WestBam" title="WestBam">WestBam</a>, <a href="/wiki/Marusha" title="Marusha">Marusha</a>, and a music channel called <a href="/wiki/VIVA_(TV_station)" class="mw-redirect" title="VIVA (TV station)">VIVA</a>. 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 <a href="/wiki/Harthouse" title="Harthouse">Harthouse</a> label."<a href="#cite_note-95">[95]</a> Illegal raves, however, regained importance in the German techno scene as a countermovement to the commercial mass raves in the mid-1990s.<a href="#cite_note-spiegel_19960826-96">[96]</a> <div class="mw-heading mw-heading3"><h3 id="Tekkno_versus_techno">Tekkno versus techno</h3>[<a href="/w/index.php?title=Techno&action=edit&section=13" title="Edit section: Tekkno versus techno">edit</a>]</div> In Germany, fans started to refer to the harder techno sound emerging in the early 1990s as <a href="/w/index.php?title=Tekkno_(genre)&action=edit&redlink=1" class="new" title="Tekkno (genre) (page does not exist)">Tekkno</a> [<a href="https://de.wikipedia.org/wiki/Tekkno" class="extiw" title="de:Tekkno">de</a>] (or Brett).<a href="#cite_note-ROBB-83">[83]</a> This alternative spelling, with varying numbers of ks, began as a tongue-in-cheek attempt to emphasize the music's hardness, but by the mid-1990s it came to be associated with a controversial point of view that the music was and perhaps always had been wholly separate from Detroit's techno, deriving instead from a 1980s EBM-oriented club scene cultivated in part by DJ/musician Talla 2XLC in Frankfurt.<a href="#cite_note-Sicko2010_118120-70">[70]</a> 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. <a href="/wiki/Dimitri_Hegemann" title="Dimitri Hegemann">Dimitri Hegemann</a> has stated that the Frankfurt definition of techno associated with Talla's Technoclub differed from that used in Berlin.<a href="#cite_note-Sextro,_M._2008-80">[80]</a> Frankfurt's Armin Johnert viewed techno as having its roots in acts such DAF, <a href="/wiki/Cabaret_Voltaire_(band)" title="Cabaret Voltaire (band)">Cabaret Voltaire</a>, and <a href="/wiki/Suicide_(band)" title="Suicide (band)">Suicide</a>, but a younger generation of club goers had a perception of the older EBM and <a href="/wiki/Industrial_(music)" class="mw-redirect" title="Industrial (music)">Industrial</a> as handed down and outdated. The Berlin scene offered an alternative and many began embracing an imported sound that was being referred to as Techno-House. The move away from EBM had started in Berlin when acid house became popular, thanks to Monika Dietl's radio show on <a href="/w/index.php?title=SFB_4&action=edit&redlink=1" class="new" title="SFB 4 (page does not exist)">SFB 4</a> [<a href="https://de.wikipedia.org/wiki/Sender_Freies_Berlin" class="extiw" title="de:Sender Freies Berlin">de</a>]. 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."<a href="#cite_note-Sextro,_M._2008-80">[80]</a> By Spring 1990, Tanith, along with <a href="/w/index.php?title=Wolle_XDP&action=edit&redlink=1" class="new" title="Wolle XDP (page does not exist)">Wolle XDP</a> [<a href="https://de.wikipedia.org/wiki/Wolfram_Neugebauer" class="extiw" title="de:Wolfram Neugebauer">de</a>], 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 <a href="/w/index.php?title=Tekknozid&action=edit&redlink=1" class="new" title="Tekknozid (page does not exist)">Tekknozid</a> [<a href="https://de.wikipedia.org/wiki/Tekknozid" class="extiw" title="de:Tekknozid">de</a>] 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."<a href="#cite_note-Sextro,_M._2008-80">[80]</a> <div class="mw-heading mw-heading2"><h2 id="Developments">Developments</h2>[<a href="/w/index.php?title=Techno&action=edit&section=14" title="Edit section: Developments">edit</a>]</div> 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 <a href="/wiki/Moby" title="Moby">Moby</a><a href="#cite_note-97">[97]</a> to the distinctly anti-commercial sentiments<a href="#cite_note-98">[98]</a> of <a href="/wiki/Underground_Resistance_(band)" class="mw-redirect" title="Underground Resistance (band)">Underground Resistance</a>. Derrick May's experimentation on works such as Beyond the Dance (1989) and The Beginning (1990) were credited with taking techno "in dozens of new directions at once and having the kind of expansive impact John Coltrane had on Jazz".<a href="#cite_note-Sicko_1999:80-99">[99]</a> The <a href="/wiki/Birmingham" title="Birmingham">Birmingham</a>-based label <a href="/wiki/Network_Records" title="Network Records">Network Records</a> label was instrumental in introducing Detroit techno to British audiences.<a href="#cite_note-100">[100]</a> By the early 1990s, the original techno sound had garnered a large underground following in the <a href="/wiki/United_Kingdom" title="United Kingdom">United Kingdom</a>, Germany, the <a href="/wiki/Netherlands" title="Netherlands">Netherlands</a> and <a href="/wiki/Belgium" title="Belgium">Belgium</a>. The growth of techno's popularity in Europe between 1988 and 1992 was largely due to the emergence of the <a href="/wiki/Rave" title="Rave">rave</a> scene and a thriving club culture.<a href="#cite_note-SICKO95_120-75">[75]</a> <div class="mw-heading mw-heading3"><h3 id="American_exodus">American exodus</h3>[<a href="/w/index.php?title=Techno&action=edit&section=15" title="Edit section: American exodus">edit</a>]</div> In the United States during the early 90s, apart from regional scenes in Detroit, <a href="/wiki/New_York_City" title="New York City">New York City</a>, 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.<a href="#cite_note-101">[101]</a> This first wave of Detroit expatriates was soon joined by a so-called "second wave" that included Carl Craig, <a href="/wiki/Octave_One" title="Octave One">Octave One</a>, Jay Denham, <a href="/wiki/Kenny_Larkin" title="Kenny Larkin">Kenny Larkin</a>, <a href="/wiki/Stacey_Pullen" title="Stacey Pullen">Stacey Pullen</a>, and <a href="/wiki/Underground_Resistance_(band)" class="mw-redirect" title="Underground Resistance (band)">UR</a>'s <a href="/wiki/Jeff_Mills" title="Jeff Mills">Jeff Mills</a>, <a href="/wiki/Mike_Banks_(musician)" title="Mike Banks (musician)">Mike Banks</a>, and <a href="/wiki/Robert_Hood" title="Robert Hood">Robert Hood</a>. In the same period, close to Detroit (<a href="/wiki/Windsor,_Ontario" title="Windsor, Ontario">Windsor, Ontario</a>), <a href="/wiki/Richie_Hawtin" title="Richie Hawtin">Richie Hawtin</a>, with business partner <a href="/wiki/John_Acquaviva" title="John Acquaviva">John Acquaviva</a>, launched the techno imprint <a href="/wiki/Plus_8" title="Plus 8">Plus 8</a> Records. A number of New York producers also made an impression in Europe at this time, most notably <a href="/wiki/Frankie_Bones" title="Frankie Bones">Frankie Bones</a>, Lenny Dee, and <a href="/wiki/Joey_Beltram" title="Joey Beltram">Joey Beltram</a> .<a href="#cite_note-102">[102]</a> These developments in American-produced techno between 1990 and 1992 fueled the expansion and eventual divergence of techno in Europe, particularly in Germany.<a href="#cite_note-Sicko_1999:161–184-103">[103]</a><a href="#cite_note-REYN228-104">[104]</a> In <a href="/wiki/Berlin" title="Berlin">Berlin</a>, the club <a href="/wiki/Tresor_(club)" title="Tresor (club)">Tresor</a> 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.<a href="#cite_note-105">[105]</a> The club brought new life to the careers of Detroit artists such as Santonio Echols, Eddie Fowlkes and Blake Baxter, who played there 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.<a href="#cite_note-106">[106]</a> Although eclipsed by Germany, <a href="/wiki/Belgium" title="Belgium">Belgium</a> was another focus of second-wave techno in this time period. The <a href="/wiki/Ghent" title="Ghent">Ghent</a>-based label <a href="/wiki/R%26S_Records" title="R&S Records">R&S Records</a> embraced <a href="/wiki/Belgian_techno" class="mw-redirect" title="Belgian techno">harder-edged techno</a> by "teenage prodigies" like Beltram and <a href="/wiki/C.J._Bolland" class="mw-redirect" title="C.J. Bolland">C.J. Bolland</a>, releasing "tough, metallic tracks...with harsh, discordant synth lines that sounded like distressed Hoovers," according to one music journalist.<a href="#cite_note-SHALLCROSS-107">[107]</a> In the United Kingdom, <a href="/wiki/Sub_Club" title="Sub Club">Sub Club</a> which opened in <a href="/wiki/Glasgow" title="Glasgow">Glasgow</a> in 1987,<a href="#cite_note-108">[108]</a>[<a href="/wiki/Wikipedia:NOTRS" class="mw-redirect" title="Wikipedia:NOTRS">better source needed</a>] and <a href="/wiki/Trade_(nightclub)" title="Trade (nightclub)">Trade</a> which opened its doors to <a href="/wiki/London" title="London">Londoners</a> in 1990, were venues which helped bring techno into the country.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] Trade has been referred to as the 'original all night bender'.<a href="#cite_note-109">[109]</a> <div class="mw-heading mw-heading4"><h4 id="A_Techno_Alliance">A Techno Alliance</h4>[<a href="/w/index.php?title=Techno&action=edit&section=16" title="Edit section: A Techno Alliance">edit</a>]</div> In 1993, the German techno label <a href="/wiki/Tresor_Records" class="mw-redirect" title="Tresor Records">Tresor Records</a> released the compilation album Tresor II: Berlin & Detroit – A Techno Alliance,<a href="#cite_note-110">[110]</a> 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.<a href="#cite_note-REYN228-104">[104]</a> As the mid-1990s approached, Berlin was becoming a haven for Detroit producers; <a href="/wiki/Jeff_Mills" title="Jeff Mills">Jeff Mills</a> and <a href="/wiki/Blake_Baxter" title="Blake Baxter">Blake Baxter</a> 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 <a href="/wiki/Thomas_Fehlmann" title="Thomas Fehlmann">Thomas Fehlmann</a> and <a href="/wiki/Moritz_Von_Oswald" class="mw-redirect" title="Moritz Von Oswald">Moritz Von Oswald</a><a href="#cite_note-REYN228-104">[104]</a> and Tresor-affiliated label <a href="/wiki/Basic_Channel" title="Basic Channel">Basic Channel</a> had its releases <a href="/wiki/Audio_mastering" class="mw-redirect" title="Audio mastering">mastered</a> 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: <a href="/wiki/D%C3%BCsseldorf" title="Düsseldorf">Düsseldorf</a>'s Kraftwerk. The dance sounds of Chicago and Detroit also had another German connection, as it was in <a href="/wiki/Munich" title="Munich">Munich</a> that Giorgio Moroder and Pete Bellotte first produced the synthesizer-generated <a href="/wiki/Eurodisco" title="Eurodisco">Eurodisco</a> sound, including the seminal four-on-the-floor track <a href="/wiki/I_Feel_Love" title="I Feel Love">I Feel Love</a>.<a href="#cite_note-mixmag_moroder-111">[111]</a><a href="#cite_note-ROBB-83">[83]</a> <div class="mw-heading mw-heading3"><h3 id="Minimal_techno">Minimal techno</h3>[<a href="/w/index.php?title=Techno&action=edit&section=17" title="Edit section: Minimal techno">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Minimal_techno" title="Minimal techno">Minimal techno</a></div><figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Robert_Hood_Live_@_Kennedys,_Dublin,_Ireland_2009.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Robert_Hood_Live_%40_Kennedys%2C_Dublin%2C_Ireland_2009.JPG/250px-Robert_Hood_Live_%40_Kennedys%2C_Dublin%2C_Ireland_2009.JPG" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Robert_Hood_Live_%40_Kennedys%2C_Dublin%2C_Ireland_2009.JPG/330px-Robert_Hood_Live_%40_Kennedys%2C_Dublin%2C_Ireland_2009.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Robert_Hood_Live_%40_Kennedys%2C_Dublin%2C_Ireland_2009.JPG/500px-Robert_Hood_Live_%40_Kennedys%2C_Dublin%2C_Ireland_2009.JPG 2x" data-file-width="2592" data-file-height="1944" /></a><figcaption>Robert Hood, techno minimalist, in 2009</figcaption></figure>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 <a href="/wiki/Minimal_techno" title="Minimal techno">minimal techno</a> (a term producer <a href="/wiki/Daniel_Bell_(musician)" title="Daniel Bell (musician)">Daniel Bell</a> found difficult to accept, finding the term minimalism, in the artistic sense of the word, too "arty").<a href="#cite_note-112">[112]</a> It is thought that <a href="/wiki/Robert_Hood" title="Robert Hood">Robert Hood</a>, a Detroit-based producer and one time member of UR, is largely responsible for ushering in the minimal strain of techno.<a href="#cite_note-113">[113]</a> Hood describes the situation in the early 1990s as one where techno had become too <a href="/wiki/Rave" title="Rave">"ravey"</a>, with increasing tempos, the emergence of <a href="/wiki/Gabber" title="Gabber">gabber</a>, and related trends straying far from the social commentary and <a href="/wiki/Soul_music" title="Soul music">soul</a>-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".<a href="#cite_note-114">[114]</a> Hood explains: <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">I think Dan [Bell] and I both realized that something was missing – an element <abbr style="text-decoration:none;border-bottom:1px dotted black;margin-bottom:1px;" title="quote text omitted">…</abbr> in what we both know as techno. It sounded great from a production point of standpoint, but there was a 'jack' element in the [old] structure. People would complain that there's no funk, no feeling in techno anymore, and the easy escape is to put a vocalist and some piano on top to fill the emotional gap. I thought it was time for a return to the original underground.<a href="#cite_note-SICKO_UNKNOWN-115">[115]</a></blockquote> <div class="mw-heading mw-heading3"><h3 id="Jazz_influences">Jazz influences</h3>[<a href="/w/index.php?title=Techno&action=edit&section=18" title="Edit section: Jazz influences">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Jazz" title="Jazz">Jazz</a>, <a href="/wiki/Jazz_fusion" title="Jazz fusion">Jazz fusion</a>, and <a href="/wiki/Musical_improvisation" title="Musical improvisation">Musical improvisation</a></div> Some techno has also been influenced by or directly infused with elements of jazz.<a href="#cite_note-116">[116]</a> This led to increased sophistication in the use of both rhythm and harmony in a number of techno productions.<a href="#cite_note-117">[117]</a> <a href="/wiki/Manchester" title="Manchester">Manchester</a> (UK)-based techno act <a href="/wiki/808_State" title="808 State">808 State</a> helped fuel this development with tracks such as "<a href="/wiki/Pacific_State_(song)" title="Pacific State (song)">Pacific State</a>"<a href="#cite_note-118">[118]</a> and "Cobra Bora" in 1989.<a href="#cite_note-119">[119]</a> Detroit producer Mike Banks was heavily influenced by jazz, as demonstrated on the influential <a href="/wiki/Underground_Resistance_(band)" class="mw-redirect" title="Underground Resistance (band)">Underground Resistance</a> release Nation 2 Nation (1991).<a href="#cite_note-KODWO-120">[120]</a> By 1993, Detroit acts such as <a href="/wiki/Juan_Atkins" title="Juan Atkins">Model 500</a> and <a href="/wiki/Underground_Resistance_(band)" class="mw-redirect" title="Underground Resistance (band)">UR</a> had made explicit references to the genre, with the tracks "Jazz Is The Teacher" (1993)<a href="#cite_note-SHALLCROSS-107">[107]</a> and "Hi-Tech Jazz" (1993), the latter being part of a larger body of work and group called <a href="/wiki/Galaxy_2_Galaxy" title="Galaxy 2 Galaxy">Galaxy 2 Galaxy</a>, a self-described jazz project based on Kraftwerk's "man machine" doctrine.<a href="#cite_note-KODWO-120">[120]</a><a href="#cite_note-121">[121]</a> This lead was followed by a number of techno producers in the UK who were influenced by both jazz and UR, <a href="/wiki/Dave_Angel" title="Dave Angel">Dave Angel</a>'s "Seas of Tranquility" EP (1994) being a case in point,<a href="#cite_note-122">[122]</a><a href="#cite_note-123">[123]</a> Other notable artists who set about expanding upon the structure of "classic techno" include Dan Curtin, Morgan Geist, Titonton Duvante and Ian O'Brien.<a href="#cite_note-124">[124]</a> <div class="mw-heading mw-heading3"><h3 id="Intelligent_techno">Intelligent techno</h3>[<a href="/w/index.php?title=Techno&action=edit&section=19" title="Edit section: Intelligent techno">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">Intelligent dance music</a>, <a href="/wiki/Ambient_techno" title="Ambient techno">ambient techno</a>, and <a href="/wiki/Bleep_techno" title="Bleep techno">bleep techno</a></div> 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."<a href="#cite_note-125">[125]</a> By 1992 a number of European producers and labels began to associate rave culture with the corruption and commercialization of the original techno ideal.<a href="#cite_note-126">[126]</a> Following this the notion of an intelligent or Detroit inspired pure techno aesthetic began to take hold. Detroit techno had maintained its integrity throughout the rave era and was pushing a new generation of so-called intelligent techno producers forward. Simon Reynolds suggests that this progression "involved a full-scale retreat from the most radically posthuman and hedonistically functional aspects of rave music toward more traditional ideas about creativity, namely the auteur theory of the solitary genius who humanizes technology."<a href="#cite_note-127">[127]</a> The term <a href="/wiki/Intelligent_techno" class="mw-redirect" title="Intelligent techno">intelligent techno</a> was used to differentiate more sophisticated versions of underground techno <a href="#cite_note-128">[128]</a> from rave-oriented styles such as <a href="/wiki/Breakbeat_hardcore" title="Breakbeat hardcore">breakbeat hardcore</a>, Schranz, <a href="/wiki/Netherlands" title="Netherlands">Dutch</a> <a href="/wiki/Gabber" title="Gabber">Gabber</a>. <a href="/wiki/Warp_Records" title="Warp Records">Warp Records</a> was among the first to capitalize upon this development with the release of the compilation album <a href="/wiki/Artificial_Intelligence_(compilation_album)" title="Artificial Intelligence (compilation album)">Artificial Intelligence</a><a href="#cite_note-129">[129]</a> Of this time, Warp founder and managing director Steve Beckett said <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">the dance scene was changing and we were hearing B-sides that weren't dance but were interesting and fitted into experimental, progressive rock, so we decided to make the compilation Artificial Intelligence, which became a milestone <abbr style="text-decoration:none;border-bottom:1px dotted black;margin-bottom:1px;" title="quote text omitted">…</abbr> it felt like we were leading the market rather than it leading us, the music was aimed at home listening rather than clubs and dance floors: people coming home, off their nuts and having the most interesting part of the night listening to totally tripped out music. The sound fed the scene.<a href="#cite_note-130">[130]</a></blockquote> Warp had originally marketed Artificial Intelligence using the description electronic listening music but this was quickly replaced by intelligent techno. In the same period (1992–93) other names were also bandied about such as armchair techno, <a href="/wiki/Ambient_techno" title="Ambient techno">ambient techno</a>, and <a href="/wiki/Electronica" title="Electronica">electronica</a>,<a href="#cite_note-131">[131]</a> but all referred to an emerging form of post-rave dance music for the "sedentary and stay at home".<a href="#cite_note-132">[132]</a> Following the commercial success of the compilation in the United States, <a href="/wiki/Intelligent_Dance_Music" class="mw-redirect" title="Intelligent Dance Music">Intelligent Dance Music</a> eventually became the name most commonly used for much of the experimental dance music emerging during the mid-to-late 1990s. Although it is primarily Warp that has been credited with ushering the commercial growth of IDM and electronica, in the early 1990s there were many notable labels associated with the initial intelligence trend that received little, if any, wider attention. Amongst others they include: <a href="/wiki/Black_Dog_Productions" class="mw-redirect" title="Black Dog Productions">Black Dog Productions</a> (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, <a href="/wiki/Mille_Plateaux_(record_label)" title="Mille Plateaux (record label)">Mille Plateaux</a>, 100% Pure (1993) and Ferox Records (1993). <div class="mw-heading mw-heading3"><h3 id="Free_techno">Free techno</h3>[<a href="/w/index.php?title=Techno&action=edit&section=20" title="Edit section: Free techno">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Free_tekno" title="Free tekno">Free tekno</a>, <a href="/wiki/Freetekno" title="Freetekno">Freetekno</a>, <a href="/wiki/Teknival" title="Teknival">Teknival</a>, <a href="/wiki/Free_Party" class="mw-redirect" title="Free Party">Free Party</a>, <a href="/wiki/Acid_techno" title="Acid techno">Acid techno</a>, and <a href="/wiki/DIY_culture" class="mw-redirect" title="DIY culture">DIY culture</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Algorythm_duracell_enzo_pk_zinix_zbomb_sound6tems.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Algorythm_duracell_enzo_pk_zinix_zbomb_sound6tems.jpg/220px-Algorythm_duracell_enzo_pk_zinix_zbomb_sound6tems.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Algorythm_duracell_enzo_pk_zinix_zbomb_sound6tems.jpg/330px-Algorythm_duracell_enzo_pk_zinix_zbomb_sound6tems.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8e/Algorythm_duracell_enzo_pk_zinix_zbomb_sound6tems.jpg/440px-Algorythm_duracell_enzo_pk_zinix_zbomb_sound6tems.jpg 2x" data-file-width="499" data-file-height="374" /></a><figcaption>A sound system at Czechtek 2004</figcaption></figure> In the early 1990s a post-rave, <a href="/wiki/DIY_ethic" class="mw-redirect" title="DIY ethic">DIY</a>, <a href="/wiki/Free_party" title="Free party">free party</a> scene had established itself in the UK. It was largely based around an alliance between warehouse party goers from various urban <a href="/wiki/Squatting" title="Squatting">squat</a> scenes and politically inspired <a href="/wiki/New_age_travellers" class="mw-redirect" title="New age travellers">new age travellers</a>. The new agers offered a readymade network of countryside festivals that were hastily adopted by squatters and ravers alike.<a href="#cite_note-133">[133]</a> Prominent among the <a href="/wiki/Sound_reinforcement_system" title="Sound reinforcement system">sound systems</a> operating at this time were Exodus in Luton, Tonka in <a href="/wiki/Brighton" title="Brighton">Brighton</a>, Smokescreen in <a href="/wiki/Sheffield" title="Sheffield">Sheffield</a>, <a href="/wiki/The_DiY_Sound_System" class="mw-redirect" title="The DiY Sound System">DiY</a> in <a href="/wiki/Nottingham" title="Nottingham">Nottingham</a>, Bedlam, Circus Warp, LSDiesel and London's <a href="/wiki/Spiral_Tribe" title="Spiral Tribe">Spiral Tribe</a>. 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 <a href="/wiki/Castlemorton_Common_Festival" title="Castlemorton Common Festival">Castlemorton Common Festival</a> for 5 days of partying.<a href="#cite_note-STJOHN-134">[134]</a> This one event was largely responsible for the introduction in 1994 of the <a href="/wiki/Criminal_Justice_and_Public_Order_Act_1994" title="Criminal Justice and Public Order Act 1994">Criminal Justice and Public Order Act</a>;<a href="#cite_note-135">[135]</a> effectively leaving the British <a href="/wiki/Free_party" title="Free party">free party</a> scene for dead. Following this many of the traveller artists moved away from Britain to Europe, the US, <a href="/wiki/Goa" title="Goa">Goa</a> in <a href="/wiki/India" title="India">India</a>, <a href="/wiki/Koh_Phangan" class="mw-redirect" title="Koh Phangan">Koh Phangan</a> in <a href="/wiki/Thailand" title="Thailand">Thailand</a> and <a href="/wiki/Australia" title="Australia">Australia's</a> East Coast.<a href="#cite_note-STJOHN-134">[134]</a> In the rest of Europe, due in some part to the inspiration of traveling sound systems from the UK,<a href="#cite_note-STJOHN-134">[134]</a> rave enjoyed a prolonged existence as it continued to expand across the <a href="/wiki/Continental_Europe" title="Continental Europe">continent</a>.<a href="#cite_note-Sicko_1999:161–184-103">[103]</a> Spiral Tribe, Bedlam and other English sound systems took their cooperative techno ideas to Europe, particularly <a href="/wiki/Eastern_Europe" title="Eastern Europe">Eastern Europe</a> where it was cheaper to live, and audiences were quick to appropriate the free party ideology. It was European <a href="/wiki/Teknival" title="Teknival">Teknival</a> free parties, such as the annual <a href="/wiki/Czechtek" class="mw-redirect" title="Czechtek">Czechtek</a> 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 <a href="/wiki/Amsterdam" title="Amsterdam">Amsterdam</a> and <a href="/wiki/Berlin" title="Berlin">Berlin</a>.<a href="#cite_note-STJOHN-134">[134]</a> <div class="mw-heading mw-heading3"><h3 id="Divergence">Divergence</h3>[<a href="/w/index.php?title=Techno&action=edit&section=21" title="Edit section: Divergence">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951" /><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">List of electronic music genres</a></div> 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 led to the appearance (in the UK initially) of inventive new music that sounded far-removed from techno. For instance <a href="/wiki/Oldschool_jungle" class="mw-redirect" title="Oldschool jungle">jungle</a> (<a href="/wiki/Drum_and_bass" title="Drum and bass">drum and bass</a>) demonstrated influences ranging from <a href="/wiki/Hip_hop_music" class="mw-redirect" title="Hip hop music">hip hop</a>, soul, and <a href="/wiki/Reggae" title="Reggae">reggae</a> to techno and house. With an increasing diversification (and commercialization) of dance music, the collectivist sentiment prominent in the early <a href="/wiki/Rave" title="Rave">rave</a> 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 <a href="/wiki/Muzik" title="Muzik">Muzik</a> 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 (<a href="/wiki/Birmingham_sound" title="Birmingham sound">Birmingham</a>), Pure (Edinburgh, whose resident DJ Twitch later founded the more eclectic <a href="/wiki/Optimo" title="Optimo">Optimo</a>), and Bugged Out (Manchester) were still popular. With techno reaching a state of "creative palsy," and with a disproportionate number of underground dance music enthusiasts more interested in the sounds of rave and jungle, in 1995 the future of the UK techno scene looked uncertain as the market for "pure techno" waned. Muzik described the sound of UK techno at this time as "dutiful grovelling at the altar of American techno with a total unwillingness to compromise."<a href="#cite_note-136">[136]</a> By the end of the 1990s, a number of post-techno <a href="#cite_note-137">[137]</a> underground styles had emerged, including <a href="/wiki/Ghettotech" title="Ghettotech">ghettotech</a> (a style that combines some of the aesthetics of techno with <a href="/wiki/Hip-hop_music" class="mw-redirect" title="Hip-hop music">hip-hop</a> and house music), <a href="/wiki/Nortec" title="Nortec">nortec</a>, <a href="/wiki/Glitch_(music)" title="Glitch (music)">glitch</a>, <a href="/wiki/Digital_hardcore" title="Digital hardcore">digital hardcore</a>, <a href="/wiki/Electroclash" title="Electroclash">electroclash</a><a href="#cite_note-spectator_clash-1">[1]</a> and so-called no-beat techno.<a href="#cite_note-138">[138]</a> 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 <a href="/wiki/Napalm_Death" title="Napalm Death">Napalm Death</a> in there with him. The elevator's stalled between the pharmacy and the athletic wear store."<a href="#cite_note-FantaziaMay-72">[72]</a> <div class="mw-heading mw-heading3"><h3 id="Commercial_exposure">Commercial exposure</h3>[<a href="/w/index.php?title=Techno&action=edit&section=22" title="Edit section: Commercial exposure">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Underworld_tour1s.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Underworld_tour1s.jpg/220px-Underworld_tour1s.jpg" decoding="async" width="220" height="87" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Underworld_tour1s.jpg/330px-Underworld_tour1s.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a1/Underworld_tour1s.jpg/440px-Underworld_tour1s.jpg 2x" data-file-width="443" data-file-height="175" /></a><figcaption><a href="/wiki/Underworld_(band)" title="Underworld (band)">Underworld</a> during a live performance</figcaption></figure> While techno and its derivatives only occasionally produce commercially successful mainstream acts—<a href="/wiki/Underworld_(band)" title="Underworld (band)">Underworld</a> and <a href="/wiki/Orbital_(band)" title="Orbital (band)">Orbital</a> 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 <a href="/wiki/Madonna_(entertainer)" class="mw-redirect" title="Madonna (entertainer)">Madonna</a> and <a href="/wiki/U2" title="U2">U2</a>, 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".<a href="#cite_note-139">[139]</a><a href="#cite_note-140">[140]</a><a href="#cite_note-141">[141]</a> Rapper <a href="/wiki/Missy_Elliott" title="Missy Elliott">Missy Elliott</a> exposed the popular music audience to the Detroit techno sound when she featured material from Cybotron's Clear on her 2006 release "Lose Control"; this resulted in <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a>' receiving a <a href="/wiki/Grammy_Award" class="mw-redirect" title="Grammy Award">Grammy Award</a> nomination for his writing credit. Elliott's 2001 album <a href="/wiki/Miss_E..._So_Addictive" title="Miss E... So Addictive">Miss E... So Addictive</a> also clearly demonstrated the influence of techno inspired club culture.<a href="#cite_note-142">[142]</a> In the late 90s the publication of relatively accurate histories by authors <a href="/wiki/Simon_Reynolds" title="Simon Reynolds">Simon Reynolds</a> (Generation Ecstasy, also known as Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the <a href="/wiki/Detroit_Electronic_Music_Festival" title="Detroit Electronic Music Festival">Detroit Electronic Music Festival</a> in the 2000s, helped diffuse some of the genre's more dubious mythology.<a href="#cite_note-143">[143]</a> Even the Detroit-based company <a href="/wiki/Ford_Motors" class="mw-redirect" title="Ford Motors">Ford Motors</a> eventually became savvy to the mass appeal of techno, noting that "this music was created partly by the pounding clangor of the Motor City's auto factories. It became natural for us to incorporate Detroit techno into our commercials after we discovered that young people are embracing techno." With a marketing campaign targeting under-35s, Ford used "Detroit Techno" as a print ad slogan and chose Model 500's "No UFO's" to underpin its November 2000 <a href="/wiki/MTV" title="MTV">MTV</a> television advertisement for the <a href="/wiki/Ford_Focus_(North_America)" class="mw-redirect" title="Ford Focus (North America)">Ford Focus</a>.<a href="#cite_note-144">[144]</a><a href="#cite_note-145">[145]</a><a href="#cite_note-LUNAR-146">[146]</a><a href="#cite_note-147">[147]</a> <div class="mw-heading mw-heading2"><h2 id="Antecedents">Antecedents</h2>[<a href="/w/index.php?title=Techno&action=edit&section=23" title="Edit section: Antecedents">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Early_use_of_the_term_'Techno'">Early use of the term 'Techno'</h3>[<a href="/w/index.php?title=Techno&action=edit&section=24" title="Edit section: Early use of the term 'Techno'">edit</a>]</div> In 1977, <a href="/wiki/Steve_Fairnie" title="Steve Fairnie">Steve Fairnie</a> and <a href="/wiki/Bev_Sage" title="Bev Sage">Bev Sage</a> formed an electronica band called the <a href="/wiki/Techno_Twins" title="Techno Twins">Techno Twins</a> in London, England. When Kraftwerk first toured Japan, their music was described as "technopop" by the Japanese press.<a href="#cite_note-148">[148]</a> The Japanese band Yellow Magic Orchestra used the word 'techno' in a number of their works such as the song "Technopolis" (1979), the album Technodelic (1981), and a <a href="/wiki/Flexi_disc" title="Flexi disc">flexi disc</a> EP, "The Spirit of Techno" (1983).<a href="#cite_note-149">[149]</a> When Yellow Magic Orchestra toured the United States in 1980, they described their own music as technopop, and were written up in <a href="/wiki/Rolling_Stone_Magazine" class="mw-redirect" title="Rolling Stone Magazine">Rolling Stone Magazine</a>.<a href="#cite_note-150">[150]</a> Around 1980, the members of YMO added synthesizer backing tracks to idol songs such as <a href="/wiki/Ikue_Sakakibara" title="Ikue Sakakibara">Ikue Sakakibara</a>'s "Robot", and these songs were classified as 'techno kayou' or 'bubblegum techno.<a href="#cite_note-151">[151]</a> In 1985, <a href="/wiki/Billboard_(magazine)" title="Billboard (magazine)">Billboard</a> reviewed the Canadian band <a href="/wiki/Skinny_Puppy" title="Skinny Puppy">Skinny Puppy</a>'s album, and described the genre as techno dance.<a href="#cite_note-152">[152]</a> 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."<a href="#cite_note-153">[153]</a> <div class="mw-heading mw-heading3"><h3 id="Proto-techno">Proto-techno</h3>[<a href="/w/index.php?title=Techno&action=edit&section=25" title="Edit section: Proto-techno">edit</a>]</div> The popularity of <a href="/wiki/Eurodisco" title="Eurodisco">Eurodisco</a> and <a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a>—referred to as progressive in Detroit—and <a href="/wiki/New_romantic" class="mw-redirect" title="New romantic">new romantic</a> synth-pop in the Detroit high school party scene from which techno emerged<a href="#cite_note-154">[154]</a> 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.<a href="#cite_note-KODWO100-16">[16]</a><a href="#cite_note-155">[155]</a><a href="#cite_note-Reynolds_1999:190-156">[156]</a> The search for a mythical "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, <a href="/wiki/Alexander_Robotnick" title="Alexander Robotnick">Alexander Robotnick</a>, and <a href="/wiki/Claudio_Simonetti" title="Claudio Simonetti">Claudio Simonetti</a> synth-pop artists such as <a href="/wiki/Visage_(band)" title="Visage (band)">Visage</a>, New Order, Depeche Mode, <a href="/wiki/The_Human_League" title="The Human League">The Human League</a>, and <a href="/wiki/Heaven_17" title="Heaven 17">Heaven 17</a>), they point to examples such as "Sharevari" (1981) by A Number of Names,<a href="#cite_note-157">[157]</a> danceable selections from Kraftwerk (1977–83), the earliest compositions by <a href="/wiki/Cybotron_(American_band)" title="Cybotron (American band)">Cybotron</a> (1981), <a href="/wiki/Giorgio_Moroder" title="Giorgio Moroder">Moroder</a>'s "From Here to Eternity" (1977), and <a href="/wiki/Manuel_G%C3%B6ttsching" title="Manuel Göttsching">Manuel Göttsching</a>'s "proto-techno masterpiece"<a href="#cite_note-Reynolds_1999:190-156">[156]</a> <a href="/wiki/E2-E4" title="E2-E4">E2-E4</a> (1981). The Eurodisco song <a href="/wiki/I_Feel_Love" title="I Feel Love">I Feel Love</a>, 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 <a href="/wiki/Beat_(music)#On-beat_and_off-beat" title="Beat (music)">off-beat</a> hi-hat, which would become a main feature of techno and house ten years later.<a href="#cite_note-krettenauer-158">[158]</a><a href="#cite_note-mixmag_moroder-111">[111]</a><a href="#cite_note-ZPKM-159">[159]</a> Another example is a record entitled Love in C minor, released in 1976 by Parisian Eurodisco producer <a href="/wiki/Jean-Marc_Cerrone" class="mw-redirect" title="Jean-Marc Cerrone">Jean-Marc Cerrone</a>; cited as the first so called "conceptual disco" production and the record from which house, techno, and other underground dance music styles flowed.<a href="#cite_note-160">[160]</a> Yet another example is Yellow Magic Orchestra's work which has been described as "proto-techno"<a href="#cite_note-keyboard_28-161">[161]</a><a href="#cite_note-kpcc_takahashi-162">[162]</a> Around 1983, Sheffield band <a href="/wiki/Cabaret_Voltaire_(band)" title="Cabaret Voltaire (band)">Cabaret Voltaire</a> began including funk and EDM elements into their sound, and in later years, would come to be described as techno. <a href="/wiki/Nitzer_Ebb" title="Nitzer Ebb">Nitzer Ebb</a> was an Essex band formed in 1982, which also showed funk and EDM influence on their sound around this time. The Danish band <a href="/wiki/Laid_Back" title="Laid Back">Laid Back</a> released "<a href="/wiki/White_Horse_(Laid_Back_song)" title="White Horse (Laid Back song)">White Horse</a>" in 1983 with a similar funky electronica sound. <div class="mw-heading mw-heading3"><h3 id="Prehistory">Prehistory</h3>[<a href="/w/index.php?title=Techno&action=edit&section=26" title="Edit section: Prehistory">edit</a>]</div> Some electro-<a href="/wiki/Disco" title="Disco">disco</a> 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 <a href="/wiki/Raymond_Scott" title="Raymond Scott">Raymond Scott</a>, 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 <a href="/wiki/Manhattan_Research_Inc._(Raymond_Scott_album)" class="mw-redirect" title="Manhattan Research Inc. (Raymond Scott album)">Manhattan Research Inc.</a> compilation album the <a href="/wiki/England" title="England">English</a> newspaper <a href="/wiki/The_Independent" title="The Independent">The Independent</a> suggested that "Scott's importance lies mainly in his realization of the rhythmic possibilities of <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a>, which laid the foundation for all electro-pop from disco to techno."<a href="#cite_note-163">[163]</a> In 2008, a tape from the mid-to-late 1960s by the original composer of the <a href="/wiki/Doctor_Who" title="Doctor Who">Doctor Who</a> theme <a href="/wiki/Delia_Derbyshire" title="Delia Derbyshire">Delia Derbyshire</a>, was found to contain music that sounded remarkably like contemporary EDM. Commenting on the tape, <a href="/wiki/Paul_Hartnoll" title="Paul Hartnoll">Paul Hartnoll</a>, of the dance group <a href="/wiki/Orbital_(band)" title="Orbital (band)">Orbital</a>, described the example as "quite amazing," noting that it sounded not unlike something that "could be coming out next week on <a href="/wiki/Warp_Records" title="Warp Records">Warp Records</a>."<a href="#cite_note-164">[164]</a> <div class="mw-heading mw-heading2"><h2 id="Music_production_practice">Music production practice</h2>[<a href="/w/index.php?title=Techno&action=edit&section=27" title="Edit section: Music production practice">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Stylistic_considerations">Stylistic considerations</h3>[<a href="/w/index.php?title=Techno&action=edit&section=28" title="Edit section: Stylistic considerations">edit</a>]</div> In general, techno is very <a href="/wiki/Disc_jockey" title="Disc jockey">DJ</a>-friendly, being mainly <a href="/wiki/Instrumental" title="Instrumental">instrumental</a> (commercial varieties being an exception) and is produced with the intention of its being heard in the context of a continuous <a href="/wiki/DJ_mix" title="DJ mix">DJ set</a>, wherein the DJ progresses from one record to the next via a synchronized <a href="/wiki/Segue" title="Segue">segue</a> or "mix."<a href="#cite_note-165">[165]</a> Much of the <a href="/wiki/Instrumentation_(music)" title="Instrumentation (music)">instrumentation</a> in techno emphasizes the role of <a href="/wiki/Rhythm" title="Rhythm">rhythm</a> over other musical parameters, but the design of <a href="/wiki/Synthesizer" title="Synthesizer">synthetic</a> <a href="/wiki/Timbre" title="Timbre">timbres</a>, and the creative use of <a href="/wiki/Music_technology" title="Music technology">music production technology</a> in general, are important aspects of the overall <a href="/wiki/Aesthetics_of_music" title="Aesthetics of music">aesthetic</a> practice. Unlike other forms of EDM that tend to be produced with <a href="/wiki/Keyboard_instrument" title="Keyboard instrument">synthesizer keyboards</a>, techno does not always strictly adhere to the <a href="/wiki/Harmony" title="Harmony">harmonic practice</a> of <a href="/wiki/Classical_music" title="Classical music">Western music</a> and such strictures are often ignored in favor of timbral manipulation alone.<a href="#cite_note-166">[166]</a> The use of <a href="/wiki/Motif_(music)" title="Motif (music)">motivic development</a> (though relatively limited) and the employment of conventional musical frameworks is more widely found in commercial techno styles, for example <a href="/wiki/Eurodance" title="Eurodance">euro-trance</a>, where the template is often an <a href="/wiki/Thirty-two-bar_form" title="Thirty-two-bar form">AABA song structure</a>.<a href="#cite_note-167">[167]</a> The main drum part is almost universally in <a href="/wiki/Common_time" class="mw-redirect" title="Common time">common time</a> (4 4); meaning 4 <a href="/wiki/Quarter_note" title="Quarter note">quarter note</a> <a href="/wiki/Pulse_(music)" title="Pulse (music)">pulses</a> per bar.<a href="#cite_note-168">[168]</a> In its simplest form, <a href="/wiki/Time" title="Time">time</a> is marked with kicks (<a href="/wiki/Bass_drum" title="Bass drum">bass drum</a> beats) on each quarter-note pulse, a <a href="/wiki/Snare_drum" title="Snare drum">snare</a> or clap on the second and fourth pulse of the bar, with an open <a href="/wiki/Hi-hat_(instrument)" class="mw-redirect" title="Hi-hat (instrument)">hi-hat</a> sound every second eighth note. This is essentially a drum pattern popularized by <a href="/wiki/Disco" title="Disco">disco</a> (or even <a href="/wiki/Polka" title="Polka">polka</a>) and is common throughout house and <a href="/wiki/Trance_music" title="Trance music">trance music</a> as well. The <a href="/wiki/Tempo" title="Tempo">tempo</a> tends to vary between approximately 120 <a href="/wiki/Beats_per_minute" class="mw-redirect" title="Beats per minute">bpm</a> (quarter note equals 120 pulses per minute) and 150 bpm, depending on the style of techno. Some of the <a href="/wiki/Drum_machine" title="Drum machine">drum programming</a> employed in the original Detroit-based techno made use of <a href="/wiki/Syncopation" title="Syncopation">syncopation</a> and <a href="/wiki/Polyrhythm" title="Polyrhythm">polyrhythm</a>, yet in many cases the basic disco-type pattern was used as a foundation, with polyrhythmic elaborations added using other <a href="/wiki/Drum_machine" title="Drum machine">drum machine</a> voices. This syncopated-feel (<a href="/wiki/Funk" title="Funk">funkiness</a>) 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."<a href="#cite_note-LUNAR-146">[146]</a> <div class="mw-heading mw-heading3"><h3 id="Compositional_techniques">Compositional techniques</h3>[<a href="/w/index.php?title=Techno&action=edit&section=29" title="Edit section: Compositional techniques">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Producerschair.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/48/Producerschair.jpg/250px-Producerschair.jpg" decoding="async" width="220" height="151" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/48/Producerschair.jpg/330px-Producerschair.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/48/Producerschair.jpg/500px-Producerschair.jpg 2x" data-file-width="800" data-file-height="549" /></a><figcaption>Example of a professional production environment</figcaption></figure> There are many ways to create techno, but the majority will depend upon the use of loop-based <a href="/wiki/Music_sequencer" title="Music sequencer">step sequencing</a> as a compositional method. Techno musicians, or <a href="/wiki/Record_producer" title="Record producer">producers</a>, rather than employing traditional <a href="/wiki/Musical_composition" title="Musical composition">compositional techniques</a>, may work in an <a href="/wiki/Musical_improvisation" title="Musical improvisation">improvisatory</a> fashion,<a href="#cite_note-169">[169]</a> often treating the electronic <a href="/wiki/Music_studio" class="mw-redirect" title="Music studio">music studio</a> 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 <a href="/wiki/Synchronization" title="Synchronization">synchronized</a> using a hardware- or computer-based <a href="/wiki/MIDI_sequencer" class="mw-redirect" title="MIDI sequencer">MIDI sequencer</a>, 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 <a href="/wiki/Overdubbing" title="Overdubbing">overdub</a> successive layers of material while continuously looping a single <a href="/wiki/Bar_(music)" title="Bar (music)">measure</a> or sequence of measures. This process will usually continue until a suitable <a href="/wiki/Multitrack_recording" title="Multitrack recording">multi-track</a> arrangement has been produced.<a href="#cite_note-170">[170]</a> 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 in the mix. Quite often, this is achieved by physically manipulating a <a href="/wiki/Mixing_console" title="Mixing console">mixer</a>, sequencer, effects, <a href="/wiki/Dynamic_range_compression" title="Dynamic range compression">dynamic processing</a>, <a href="/wiki/Equalization_(audio)" title="Equalization (audio)">equalization</a>, and <a href="/wiki/Audio_filter" title="Audio filter">filtering</a> while recording to a multi-track device. Other producers achieve similar results by using the automation features of computer-based <a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">digital audio workstations</a>. Techno can consist of little more than cleverly programmed rhythmic sequences and looped motifs combined with <a href="/wiki/Digital_signal_processing" title="Digital signal processing">signal processing</a> of one variety or another, frequency <a href="/wiki/Audio_filter" title="Audio filter">filtering</a> being a commonly used process. A more idiosyncratic approach to production is evident in the music of artists such as Twerk and <a href="/wiki/Autechre" title="Autechre">Autechre</a>, where aspects of <a href="/wiki/Algorithmic_composition" title="Algorithmic composition">algorithmic composition</a> are employed in the generation of material. <div class="mw-heading mw-heading3"><h3 id="Retro_technology">Retro technology</h3>[<a href="/w/index.php?title=Techno&action=edit&section=30" title="Edit section: Retro technology">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Roland_TR-808_drum_machine.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/Roland_TR-808_drum_machine.jpg/250px-Roland_TR-808_drum_machine.jpg" decoding="async" width="250" height="152" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/be/Roland_TR-808_drum_machine.jpg/375px-Roland_TR-808_drum_machine.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/b/be/Roland_TR-808_drum_machine.jpg 2x" data-file-width="447" data-file-height="271" /></a><figcaption>The <a href="/wiki/Roland_TR-808" title="Roland TR-808">Roland TR-808</a> was, according to <a href="/wiki/Derrick_May_(musician)" title="Derrick May (musician)">Derrick May</a>, the preferred drum machine during the early years of techno.<a href="#cite_note-MUZIK01-171">[171]</a></figcaption></figure> 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 <a href="/wiki/TR-808" class="mw-redirect" title="TR-808">TR-808</a> and <a href="/wiki/TR-909" class="mw-redirect" title="TR-909">TR-909</a>, devices such as the Roland <a href="/wiki/TB-303" class="mw-redirect" title="TB-303">TB-303</a> bass line generator, and synthesizers such as the <a href="/wiki/Roland_SH-101" title="Roland SH-101">Roland SH-101</a>, Kawai KC10, <a href="/wiki/Yamaha_DX7" title="Yamaha DX7">Yamaha DX7</a>, and Yamaha DX100 (as heard on Derrick May's seminal 1987 techno release Nude Photo).<a href="#cite_note-Sicko_1999:80-99">[99]</a> Much of the early music sequencing was executed via <a href="/wiki/MIDI" title="MIDI">MIDI</a> (but neither the TR-808 nor the TB-303 had MIDI, only <a href="/wiki/DIN_sync" title="DIN sync">DIN sync</a>) using hardware sequencers such as the Korg SQD1 and Roland MC-50, and the limited amount of <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> that was featured in this early style was accomplished using an <a href="/wiki/Akai_S900" title="Akai S900">Akai S900</a>.<a href="#cite_note-172">[172]</a> 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 <a href="/wiki/Hip_hop_music" class="mw-redirect" title="Hip hop music">Hip hop</a> production while the 909 found its home in House music and techno. It was "the pioneers of Detroit techno [who] were making the 909 the rhythmic basis of their sound, and setting the stage for the rise of Roland's vintage Rhythm Composer." In November 1995 the UK music technology magazine <a href="/wiki/Sound_on_Sound" title="Sound on Sound">Sound on Sound</a> noted:<a href="#cite_note-173">[173]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1244412712" /><blockquote class="templatequote">There can be few hi-tech instruments which still command a second-hand price only slightly lower than their original selling price 10 years after their launch. Roland's now near-legendary TR-909 is such an example—released in 1984 with a retail price of £999, they now fetch up to £900 on the second-hand market! The irony of the situation is that barely a year after its launch, the 909 was being 'chopped out' by hi-tech dealers for around £375, to make way for the then-new TR-707 and TR-727. Prices hit a new low around 1988, when you could often pick up a second-user 909 for under £200—and occasionally even under £100. Musicians all over the country are now garrotting themselves with MIDI leads as they remember that 909 they sneered at for £100—or worse, the one they sold for £50 (did you ever hear the one about the guy who gave away his TB-303 Bassline—now worth anything up to £900 from true loony collectors—because he couldn't sell it?)</blockquote> By May 1996, Sound on Sound was reporting that the popularity of the 808 had started to decline, with the rarer TR-909 taking its place as "the dance floor drum machine to use." This is thought to have arisen for a number of reasons: the 909 gives more control over the drum sounds, has better programming and includes MIDI as standard. Sound on Sound reported that the 909 was selling for between £900 and £1100 and noted that the 808 was still collectible, but maximum prices had peaked at about £700 to £800.<a href="#cite_note-174">[174]</a> Despite this fascination with retro music technology, according to Derrick May "there is no recipe, there is no keyboard or drum machine which makes the best techno, or whatever you want to call it. There never has been. It was down to the preferences of a few guys. The 808 was our preference. We were using Yamaha drum machines, different percussion machines, whatever."<a href="#cite_note-MUZIK01-171">[171]</a> <div class="mw-heading mw-heading4"><h4 id="Emulation">Emulation</h4>[<a href="/w/index.php?title=Techno&action=edit&section=31" title="Edit section: Emulation">edit</a>]</div> 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 <a href="/wiki/ReBirth_RB-338" title="ReBirth RB-338">ReBirth RB-338</a>, produced by the Swedish company <a href="/wiki/Propellerhead" class="mw-redirect" title="Propellerhead">Propellerhead</a> and originally released in May 1997.<a href="#cite_note-175">[175]</a> Version one of the software featured two TB-303s and a TR-808 only, but the release of version two saw the inclusion of a TR-909. A Sound on Sound review of the RB-338 V2 in November 1998 noted that Rebirth had been called "the ultimate techno software package" and mentions that it was "a considerable software success story of 1997".<a href="#cite_note-176">[176]</a> In America Keyboard Magazine asserted that ReBirth had "opened up a whole new <a href="/wiki/Paradigm" title="Paradigm">paradigm</a>: modeled analog synthesizer tones, percussion synthesis, pattern-based sequencing, all integrated in one piece of software".<a href="#cite_note-177">[177]</a> 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.<a href="#cite_note-178">[178]</a> In 2001, Propellerhead released <a href="/wiki/Reason_(software)" title="Reason (software)">Reason</a> 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 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 <a href="/wiki/Zeitgeist" title="Zeitgeist">zeitgeist</a>, and may just be the one that many [were] waiting for."<a href="#cite_note-179">[179]</a> Reason is as of 2018 at version 10.<a href="#cite_note-180">[180]</a> <div class="mw-heading mw-heading3"><h3 id="Technological_advances">Technological advances</h3>[<a href="/w/index.php?title=Techno&action=edit&section=32" title="Edit section: Technological advances">edit</a>]</div> During the mid-to-late 1990s, as computer technology became more accessible and <a href="/wiki/Music_software" class="mw-redirect" title="Music software">music software</a> advanced, interacting with music production technology was possible using means that bore little relationship to traditional <a href="/wiki/Performance" title="Performance">musical performance</a> practices:<a href="#cite_note-181">[181]</a> for instance, <a href="/wiki/Laptop_computer" class="mw-redirect" title="Laptop computer">laptop</a> performance (laptronica)<a href="#cite_note-182">[182]</a> and <a href="/wiki/Live_coding" title="Live coding">live coding</a>.<a href="#cite_note-183">[183]</a><a href="#cite_note-184">[184]</a> By the mid-2000s a number of software-based virtual studio environments had emerged, with products such as Propellerhead's <a href="/wiki/Reason_(software)" title="Reason (software)">Reason</a> and <a href="/wiki/Ableton_Live" title="Ableton Live">Ableton Live</a> finding popular appeal.<a href="#cite_note-185">[185]</a> 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 production studios, and thanks to continued advances in <a href="/wiki/Microprocessor" title="Microprocessor">microprocessor</a> 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 environments. Some of the more popular programs for achieving such ends included commercial releases such as <a href="/wiki/Max/Msp" class="mw-redirect" title="Max/Msp">Max/Msp</a> and <a href="/wiki/Reaktor" title="Reaktor">Reaktor</a> and <a href="/wiki/Freeware" title="Freeware">freeware</a> packages such as <a href="/wiki/Pure_Data" title="Pure Data">Pure Data</a>, <a href="/wiki/SuperCollider" title="SuperCollider">SuperCollider</a>, and <a href="/wiki/ChucK" title="ChucK">ChucK</a>. In a certain sense this technological innovation lead to the resurgence of the <a href="/wiki/DIY_culture" class="mw-redirect" title="DIY culture">DIY</a> mentality that was once central to dance music culture.<a href="#cite_note-186">[186]</a><a href="#cite_note-187">[187]</a><a href="#cite_note-188">[188]</a><a href="#cite_note-189">[189]</a> 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.<a href="#cite_note-190">[190]</a> <div class="mw-heading mw-heading2"><h2 id="Notable_techno_venues">Notable techno venues</h2>[<a href="/w/index.php?title=Techno&action=edit&section=33" title="Edit section: Notable techno venues">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Globalize plainlinks metadata ambox ambox-content ambox-globalize" role="presentation"><tbody><tr><td class="mbox-image"><div class="mbox-image-div"><img alt="Globe icon." src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Ambox_globe_content.svg/48px-Ambox_globe_content.svg.png" decoding="async" width="48" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Ambox_globe_content.svg/73px-Ambox_globe_content.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Ambox_globe_content.svg/97px-Ambox_globe_content.svg.png 2x" data-file-width="350" data-file-height="290" /></div></td><td class="mbox-text"><div class="mbox-text-span">The examples and perspective in this section may not represent a <a href="/wiki/Wikipedia:WikiProject_Countering_systemic_bias" title="Wikipedia:WikiProject Countering systemic bias">worldwide view</a> of the subject. You may <a class="external text" href="https://en.wikipedia.org/w/index.php?title=Techno&action=edit">improve this section</a>, discuss the issue on the <a href="/wiki/Talk:Techno" title="Talk:Techno">talk page</a>, or create a new section, as appropriate. (November 2021) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Berghain_in_October_2014.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Berghain_in_October_2014.jpg/250px-Berghain_in_October_2014.jpg" decoding="async" width="200" height="150" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Berghain_in_October_2014.jpg/330px-Berghain_in_October_2014.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Berghain_in_October_2014.jpg/500px-Berghain_in_October_2014.jpg 2x" data-file-width="3264" data-file-height="2448" /></a><figcaption>Berlin's Berghain techno club</figcaption></figure> In Germany, noted techno clubs of the 1990s include Tresor and E-Werk in Berlin, Omen and Dorian Gray in Frankfurt, <a href="/wiki/Ultraschall" title="Ultraschall">Ultraschall</a> and <a href="/wiki/KW_%E2%80%93_Das_Heizkraftwerk" title="KW – Das Heizkraftwerk">KW – Das Heizkraftwerk</a> in Munich as well as Stammheim in Kassel.<a href="#cite_note-ronaldhitzler-191">[191]</a> In 2007, <a href="/wiki/Berghain" title="Berghain">Berghain</a> was cited as "possibly the current world capital of techno, much as E-Werk or Tresor were in their respective heydays".<a href="#cite_note-Pitch1-192">[192]</a> In the 2010s, aside from Berlin, Germany continued to have a thriving techno scene with clubs such as Gewölbe in <a href="/wiki/Cologne" title="Cologne">Cologne</a>, Institut für Zukunft in <a href="/wiki/Leipzig" title="Leipzig">Leipzig</a>, <a href="/wiki/MMA_Club" title="MMA Club">MMA Club</a> and <a href="/wiki/Blitz_Club" title="Blitz Club">Blitz Club</a> in Munich, Die Rakete in <a href="/wiki/Nuremberg" title="Nuremberg">Nuremberg</a> and Robert Johnson in <a href="/wiki/Offenbach_am_Main" title="Offenbach am Main">Offenbach am Main</a>.<a href="#cite_note-electronicbeats-193">[193]</a><a href="#cite_note-194">[194]</a> In the United Kingdom, Glasgow's <a href="/wiki/Sub_Club" title="Sub Club">Sub Club</a> has been associated with techno since the early 1990s and clubs such as London's <a href="/wiki/Fabric_(club)" title="Fabric (club)">Fabric</a> and <a href="/wiki/Egg_London" title="Egg London">Egg London</a> have gained notoriety for supporting techno.<a href="#cite_note-djmag-195">[195]</a> In the 2010s, a techno scene also emerged in Georgia, with the <a href="/wiki/Bassiani" title="Bassiani">Bassiani</a> in Tbilisi being the most notable venue.<a href="#cite_note-196">[196]</a> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Techno&action=edit&section=34" title="Edit section: See also">edit</a>]</div> <ul><li><a href="/wiki/Detroit_Electronic_Music_Archive" title="Detroit Electronic Music Archive">Detroit Electronic Music Archive</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Techno&action=edit&section=35" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-spectator_clash-1">^ <a href="#cite_ref-spectator_clash_1-0">a</a> <a href="#cite_ref-spectator_clash_1-1">b</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFCarpenter2002" class="citation news cs1"><a href="/wiki/Susan_Carpenter" title="Susan Carpenter">Carpenter, Susan</a> (6 August 2002). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20121105114209/http://pqasb.pqarchiver.com/thestar/access/453045521.html?FMT=ABS&FMTS=ABS%3AFT&type=current&date=Aug+06%2C+2002&author=Susan+Carpenter&pub=The+Spectator&desc=Electro-clash+builds+on+%2780s+techno+beat&pqatl=google">"Electro-clash builds on '80s techno beat"</a>. <a href="/wiki/The_Spectator" title="The Spectator">The Spectator</a>. Archived from <a rel="nofollow" class="external text" href="https://pqasb.pqarchiver.com/thestar/access/453045521.html?FMT=ABS&FMTS=ABS%3AFT&type=current&date=Aug+06%2C+2002&author=Susan+Carpenter&pub=The+Spectator&desc=Electro-clash+builds+on+%2780s+techno+beat&pqatl=google">the original</a> on 5 November 2012. Retrieved 25 July 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Spectator&rft.atitle=Electro-clash+builds+on+%2780s+techno+beat&rft.date=2002-08-06&rft.aulast=Carpenter&rft.aufirst=Susan&rft_id=https%3A%2F%2Fpqasb.pqarchiver.com%2Fthestar%2Faccess%2F453045521.html%3FFMT%3DABS%26FMTS%3DABS%253AFT%26type%3Dcurrent%26date%3DAug%2B06%252C%2B2002%26author%3DSusan%2BCarpenter%26pub%3DThe%2BSpectator%26desc%3DElectro-clash%2Bbuilds%2Bon%2B%252780s%2Btechno%2Bbeat%26pqatl%3Dgoogle&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> According to Butler (2006:33) use of the term EDM "has become increasingly common among fans in recent years. During the 1980s, the most common catchall term for EDM was house music, while techno became more prevalent during the first half of the 1990s. As EDM has become more diverse, however, these terms have come to refer to specific genres. Another word, electronica, has been widely used in mainstream journalism since 1996, but most fans view this term with suspicion as a marketing label devised by the music industry". </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> Butler, M. (2006). Unlocking the groove: rhythm, meter, and musical design in electronic dance music. Bloomington: Indiana University Press, page 78. "...Drawing on two of the most commonly used terms employed in this discourse, I will describe these categories as 'breakbeat-driven" and 'four-on-the-floor.'... The constant stream of steady bass-drum quarter notes that results is the distinguishing feature of four-on-the-floor genres, and the term continues to be used within EDM ... The primary genres within this category are techno, house, and trance." <ul><li>Brewster, B. & Broughton, F. (2014). Last night a DJ saved my life: the history of the disc jockey. New York: Grove Press, Chapter 7, paragraph 48 (EPUB."'No UFOs' was a dark challenge to the dancefloor built from growing layers of robotic bass, dissonant melody lines and barks of disembodied voices. It was music he'd originally intended for Cybotron, and in its theme of government control it continued Cybotron's doomy social commentary, but was noticeably faster-paced, with the electro breakbeat replaced by an industrial four-to-the-floor rhythm. This was the sound of Detroit's future.</li> <li>Julien, O. & Levaux, C. (2018). Over and over: exploring repetition in popular music. New York, NY: Bloomsbury Academic, page 76."Most techno dance music is characterized by a post-disco, house-music-inflected, rhythm that is known as "four-on-the-floor": in reference to the pulse that is explicitly emphasized by a kick drum on each beat (regular like the piston of a mechanical machine), while the snare is heard on the second and fourth beats, and an open hi-hat sound provides a sense of pull and push in between the beats. Music styles that fall within the rhythmic realm of the disco-continuum include not only Chicago house music and Detroit techno, but also hi-NRG and trance."</li> <li>Webber, S. (2008). DJ skills: the essential guide to mixing and scratching. Oxford: Focal, page 253."A lot of dance music features what's called four on the floor, which means that the bass drum (also called the kick drum) Is playing quarter notes In 4 4 time. While four on the floor is common in most genres derived from house and techno, it is far from new."</li> <li>Demers, J. (2010). Listening through the noise : the aesthetics of experimental electronic music. Oxford New York: Oxford University Press, page 97."These newest subgenres drew listeners in part because they provided a respite from relent less dancing but also because they fleshed out the sparseness of straight-ahead techno and house. In particular, dub techno replaced EDM's mechanization with a way of muffling the sense of time's passage, despite the persistence of the four-on-the-floor beat."</li></ul> </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> Rietveld, H. (2009), We Call It Techno! A Documentary About Germany’s Early Techno Scene (Sextro and Wick), <a rel="nofollow" class="external text" href="https://dj.dancecult.net/index.php/dancecult/article/view/278">Dancecult, Vol. 1, No. 1</a>, University of Huddersfield. </li> <li id="cite_note-BREW354-5">^ <a href="#cite_ref-BREW354_5-0">a</a> <a href="#cite_ref-BREW354_5-1">b</a> Brewster 2006:354 </li> <li id="cite_note-REYNOLDS71-6">^ <a href="#cite_ref-REYNOLDS71_6-0">a</a> <a href="#cite_ref-REYNOLDS71_6-1">b</a> <a href="#cite_ref-REYNOLDS71_6-2">c</a> <a href="#cite_ref-REYNOLDS71_6-3">d</a> Reynolds 1999:71. Detroit's music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the <a href="/wiki/Belleville_Three" class="mw-redirect" title="Belleville Three">Belleville Three</a> 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. </li> <li id="cite_note-bogdanov_2001-7"><a href="#cite_ref-bogdanov_2001_7-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBogdanov2001" class="citation book cs1">Bogdanov, Vladimir (2001). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=GJNXLSBlL7IC&pg=PT582">All music guide to electronica: the definitive guide to electronic music</a> (4 ed.). <a href="/wiki/Hal_Leonard_Corporation" class="mw-redirect" title="Hal Leonard Corporation">Backbeat Books</a>. p. 582. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87930-628-9" title="Special:BookSources/0-87930-628-9"><bdi>0-87930-628-9</bdi></a>. Retrieved 26 May 2011. <q>Typically, that birth is traced to the early '80s and the emaciated inner-city of Detroit, where figures such as <a href="/wiki/Juan_Atkins" title="Juan Atkins">Juan Atkins</a>, <a href="/wiki/Derrick_May_(musician)" title="Derrick May (musician)">Derrick May</a>, and <a href="/wiki/Kevin_Saunderson" title="Kevin Saunderson">Kevin Saunderson</a>, among others, fused the quirky machine music of Kraftwerk and Yellow Magic Orchestra with the space-race electric funk of George Clinton, the optimistic futurism of Alvin Toffler's The Third Wave (from which the music derived its name), and the emerging electro sound elsewhere being explored by Soul Sonic Force, the Jonzun Crew, Man Parrish, "Pretty" Tony Butler, and LA's Wrecking Cru.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=All+music+guide+to+electronica%3A+the+definitive+guide+to+electronic+music&rft.pages=582&rft.edition=4&rft.pub=Backbeat+Books&rft.date=2001&rft.isbn=0-87930-628-9&rft.aulast=Bogdanov&rft.aufirst=Vladimir&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DGJNXLSBlL7IC%26pg%3DPT582&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> Rietveld 1998:125 </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> Sicko 1999:28 </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> Having grown up with the latter-day effects of Fordism, the Detroit techno musicians read futurologist Alvin Toffler's soundbite predictions for change – 'blip culture', 'the intelligent environment', 'the infosphere', 'de-massification of the media de-massifies our minds', 'the techno rebels', 'appropriated technologies' – accorded with some, though not all, of their own intuitions, Toop, D. (1995), Ocean of Sound, Serpent's Tail, (p. 215). </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation journal cs1">"Detroit techno". Keyboard Magazine (231). July 1995.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Keyboard+Magazine&rft.atitle=Detroit+techno&rft.issue=231&rft.date=1995-07&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1 cs1-prop-unfit"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20141220000949/http://www.musicfaze.com/p/electronica-genre-guide.html#te">"Music Faze – The Electro House, Dubstep, EDM Music Blog: Electronica Genre Guide"</a>. 20 December 2014. Archived from the original on 20 December 2014. Retrieved 22 November 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Music+Faze+%E2%80%93+The+Electro+House%2C+Dubstep%2C+EDM+Music+Blog%3A+Electronica+Genre+Guide&rft.date=2014-12-20&rft_id=http%3A%2F%2Fwww.musicfaze.com%2Fp%2Felectronica-genre-guide.html%23te&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCritzon2001" class="citation news cs1">Critzon, Michael (17 September 2001). <a rel="nofollow" class="external text" href="http://arquivo.pt/wayback/20160524013848/http://www.cm-life.com/home/index.cfm?event=displayArticlePrinterFriendly&uStory_id=18da0484-aa27-4c21-9e8e-a2abdbb39b94">"Eat Static is bad stuff"</a>. Central Michigan Life. Archived from <a rel="nofollow" class="external text" href="http://www.cm-life.com/home/index.cfm?event=displayArticlePrinterFriendly&uStory_id=18da0484-aa27-4c21-9e8e-a2abdbb39b94">the original</a> on 24 May 2016. Retrieved 12 August 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Central+Michigan+Life&rft.atitle=Eat+Static+is+bad+stuff&rft.date=2001-09-17&rft.aulast=Critzon&rft.aufirst=Michael&rft_id=http%3A%2F%2Fwww.cm-life.com%2Fhome%2Findex.cfm%3Fevent%3DdisplayArticlePrinterFriendly%26uStory_id%3D18da0484-aa27-4c21-9e8e-a2abdbb39b94&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHamersly2001" class="citation journal cs1">Hamersly, Michael (23 March 2001). "Electronic Energy". The Miami Herald: 6G.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Miami+Herald&rft.atitle=Electronic+Energy&rft.pages=6G&rft.date=2001-03-23&rft.aulast=Hamersly&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSchoemer1997" class="citation news cs1">Schoemer, Karen (10 February 1997). "Electronic Eden". Newsweek. p. 60.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Newsweek&rft.atitle=Electronic+Eden&rft.pages=60&rft.date=1997-02-10&rft.aulast=Schoemer&rft.aufirst=Karen&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> Every Monday night, Natania goes to Koncrete Jungle, a dance party on New York's lower East Side that plays a hip, relatively new offshoot of dance music known as drum & bass—or, in a more general way, techno, a blanket term that describes music made on computers and electronic gadgets instead of conventional instruments, and performed by deejays instead of old-fashioned bands. </li> <li id="cite_note-KODWO100-16">^ <a href="#cite_ref-KODWO100_16-0">a</a> <a href="#cite_ref-KODWO100_16-1">b</a> Kodwo 1998:100 </li> <li id="cite_note-MTM-17">^ <a href="#cite_ref-MTM_17-0">a</a> <a href="#cite_ref-MTM_17-1">b</a> <a href="#cite_ref-MTM_17-2">c</a> <a href="#cite_ref-MTM_17-3">d</a> <a href="#cite_ref-MTM_17-4">e</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFTrask1988" class="citation journal cs1">Trask, Simon (December 1988). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080315234608/http://www.mobeus.org/archives/juanatkins/">"Future Shock"</a>. Music Technology Magazine. Archived from <a rel="nofollow" class="external text" href="http://www.mobeus.org/archives/juanatkins/">the original</a> on March 15, 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Music+Technology+Magazine&rft.atitle=Future+Shock&rft.date=1988-12&rft.aulast=Trask&rft.aufirst=Simon&rft_id=http%3A%2F%2Fwww.mobeus.org%2Farchives%2Fjuanatkins%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> Sicko 1999:71 </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> Silcott, M. (1999). Rave America: New school dancescapes. Toronto, ON: ECW Press. </li> <li id="cite_note-BREW349-20">^ <a href="#cite_ref-BREW349_20-0">a</a> <a href="#cite_ref-BREW349_20-1">b</a> Brewster 2006:349 </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=9t3r3makyc4">"Derrick May on the roots of techno at RBMA Bass Camp Japan 2010"</a>. <a href="/wiki/Red_Bull_Music_Academy" title="Red Bull Music Academy">Red Bull Music Academy</a>. <a href="/wiki/YouTube" title="YouTube">YouTube</a>. 20 September 2010. <a rel="nofollow" class="external text" href="https://ghostarchive.org/varchive/youtube/20211221/9t3r3makyc4">Archived</a> from the original on 21 December 2021. Retrieved 23 July 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Red+Bull+Music+Academy&rft.atitle=Derrick+May+on+the+roots+of+techno+at+RBMA+Bass+Camp+Japan+2010&rft.date=2010-09-20&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D9t3r3makyc4&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Sicko 1999:49 </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSchaub2009" class="citation web cs1">Schaub, Christoph (October 2009). <a rel="nofollow" class="external text" href="http://www.interamerica.de/volume-2-2/schaub/">"Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181229120700/http://interamerica.de/volume-2-2/schaub/">Archived</a> from the original on 2018-12-29. Retrieved 2019-08-04.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Beyond+the+Hood%3F+Detroit+Techno%2C+Underground+Resistance%2C+and+African+American+Metropolitan+Identity+Politics&rft.date=2009-10&rft.aulast=Schaub&rft.aufirst=Christoph&rft_id=http%3A%2F%2Fwww.interamerica.de%2Fvolume-2-2%2Fschaub%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20071012184221/http://cnn.com/2003/TRAVEL/02/10/techno.exhibit.ap">"Techno music pulses in Detroit"</a>. CNN. 13 February 2003. Archived from <a rel="nofollow" class="external text" href="http://www.cnn.com/2003/TRAVEL/02/10/techno.exhibit.ap">the original</a> on 12 October 2007. Retrieved 11 August 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Techno+music+pulses+in+Detroit&rft.date=2003-02-13&rft_id=http%3A%2F%2Fwww.cnn.com%2F2003%2FTRAVEL%2F02%2F10%2Ftechno.exhibit.ap&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFArnold1999" class="citation journal cs1">Arnold, Jacob (17 October 1999). <a rel="nofollow" class="external text" href="http://www.gridface.com/features/a_brief_history_of_techno.html">"A Brief History of Techno"</a>. Gridface. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131106110831/http://www.gridface.com/features/a_brief_history_of_techno.html">Archived</a> from the original on 6 November 2013. Retrieved 9 December 2005.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Gridface&rft.atitle=A+Brief+History+of+Techno&rft.date=1999-10-17&rft.aulast=Arnold&rft.aufirst=Jacob&rft_id=http%3A%2F%2Fwww.gridface.com%2Ffeatures%2Fa_brief_history_of_techno.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFShapiro2000" class="citation book cs1">Shapiro, Peter (2000). <a rel="nofollow" class="external text" href="https://archive.org/details/modulationshisto00shap">Modulations: A History of Electronic Music, Throbbing Words on Sound</a>. Caipirinha Productions, Inc. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/modulationshisto00shap/page/108">108</a>–121. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/189102406X" title="Special:BookSources/189102406X"><bdi>189102406X</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Modulations%3A+A+History+of+Electronic+Music%2C+Throbbing+Words+on+Sound&rft.pages=108-121&rft.pub=Caipirinha+Productions%2C+Inc.&rft.date=2000&rft.isbn=189102406X&rft.aulast=Shapiro&rft.aufirst=Peter&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fmodulationshisto00shap&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> Brewster 2006:350 </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> Reynolds 1999:16–17. </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Sicko 1999:56–58 </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Snobs, Brats, Ciabattino, Rafael, and Charivari are mentioned in Generation Ecstasy (Reynolds 1999:15); Gables and Charivari are mentioned in Techno Rebels (Sicko 1999:35,51–52). Citations still needed for Comrades, Hardwear, Rumours, and Weekends. </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> Sicko 1999:33–42,54–59 </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> Dr. Rebekah Farrugia paraphrasing Derrick May in a review of High Tech Soul: The Creation of Techno Music (Directed by Gary Bredow. Plexifilm DVD PLX-029, 2006). Published in Journal of the Society for American Music (2008) Volume 2, Number 2, pp. 291–293. </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> Keyboard Magazine Vol. 21, No.7 (issue #231, July 1995). </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> Sicko 1999:74 </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Cosgrove 1988b. Juan's first group Cybotron released several records at the height of the electro-funk boom in the early '80s, the most successful being a progressive homage to the city of Detroit, simply entitled 'Techno City'. </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> Sicko 1999:75. Adding to the impact of Enter, the single "Clear" made a huge splash and became Cybotron's biggest hit, especially after it was remixed by Jose "Animal" Diaz. "Clear" climbed the charts in Dallas, Houston, and Miami, and spent nine weeks on the Billboard Top Black Singles chart (as it was called then) in fall 1983, peaking at No. 52. "Clear" was a success. </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://newsinfo.iu.edu/news/page/normal/4080.html">"First academic conference on techno music and its African American origins"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20191228200337/https://newsinfo.iu.edu/news/page/normal/4080.html">Archived</a> from the original on 28 December 2019. Retrieved 8 October 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=First+academic+conference+on+techno+music+and+its+African+American+origins&rft_id=http%3A%2F%2Fnewsinfo.iu.edu%2Fnews%2Fpage%2Fnormal%2F4080.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> Cosgrove 1988b. "At the time, [Atkins] believed ["Techno City"] was a unique and adventurous piece of synthesizer funk, more in tune with Germany than the rest of black America, but on a dispiriting visit to New York, Juan heard Afrika Bambaataa's 'Planet Rock' and realized that his vision of a spartan electronic dance sound had been upstaged. He returned to Detroit and renewed his friendship with two younger students from Belleville High, Kevin Saunderson and Derrick May, and quietly over the next few years the three of them became the creative backbone of Detroit Techno. "Techno City" was released in 1984. Sicko 1999:73 clarifies Atkins was in New York in 1982, trying to get Cybotron's "Cosmic Cars" into the hands of radio DJs, when he first heard "Planet Rock"; so "Cosmic Cars", not "Techno City", is the unique and adventurous piece of synthesizer funk. </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> Sicko 1999:76 </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> Sicko 2010:48–49 </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> Butler 2006:43 </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> Nelson 2001:154 </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> Interview with Atkins and Mike Banks. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCox2008" class="citation web cs1">Cox, T. (2008). <a rel="nofollow" class="external text" href="http://www.residentadvisor.net/feature-read.aspx?id=907">"Model 500:Remake/remodel"</a>. Resident Advisor. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240524174808/https://ra.co/features/907">Archived</a> from the original on 2024-05-24. Retrieved 2008-06-11. <q>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.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Resident+Advisor&rft.atitle=Model+500%3ARemake%2Fremodel&rft.date=2008&rft.aulast=Cox&rft.aufirst=T.&rft_id=http%3A%2F%2Fwww.residentadvisor.net%2Ffeature-read.aspx%3Fid%3D907&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> Interview. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFOsselaer2000" class="citation web cs1">Osselaer, John (30 June 2000). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230411192211/http://www.spannered.org/music/722/">"Alan Oldham"</a>. Spannered. Archived from <a rel="nofollow" class="external text" href="http://www.spannered.org/music/722/">the original</a> on Apr 11, 2023. <q>What do you consider to be the most important turning points in the history of Detroit techno?" "The release of Model 500 No UFOs.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Spannered&rft.atitle=Alan+Oldham&rft.date=2000-06-30&rft.aulast=Osselaer&rft.aufirst=John&rft_id=http%3A%2F%2Fwww.spannered.org%2Fmusic%2F722%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> Sicko 1999:77–78 </li> <li id="cite_note-DFP-46">^ <a href="#cite_ref-DFP_46-0">a</a> <a href="#cite_ref-DFP_46-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMcCollum2002" class="citation book cs1">McCollum, Brian (22 May 2002). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20081218195332/http://www.accessmylibrary.com/coms2/summary_0286-8849128_ITM">Detroit Electronic Music Festival salutes Chicago connection</a>. Detroit Free Press. Archived from <a rel="nofollow" class="external text" href="http://www.accessmylibrary.com/coms2/summary_0286-8849128_ITM">the original</a> on 18 December 2008. Retrieved 4 April 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Detroit+Electronic+Music+Festival+salutes+Chicago+connection&rft.pub=Detroit+Free+Press&rft.date=2002-05-22&rft.aulast=McCollum&rft.aufirst=Brian&rft_id=http%3A%2F%2Fwww.accessmylibrary.com%2Fcoms2%2Fsummary_0286-8849128_ITM&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHarrison1992" class="citation news cs1">Harrison, Andrew (July 1992). "Derrick May". Select. London. pp. 80–83.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Select&rft.atitle=Derrick+May&rft.pages=%3Cspan+class%3D%22nowrap%22%3E80-%3C%2Fspan%3E83&rft.date=1992-07&rft.aulast=Harrison&rft.aufirst=Andrew&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> "RIR singles like 'Strings of Life'...are among the few classics in the debased world of techno" </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> "Strings of Life" appears on compilations titled <a rel="nofollow" class="external text" href="http://www.discogs.com/release/788003">The Real Classics of Chicago House 2</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080430071844/http://www.discogs.com/release/788003">Archived</a> 2008-04-30 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (2003), <a rel="nofollow" class="external text" href="http://www.discogs.com/release/6413">Techno Muzik Classics</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080307162148/http://www.discogs.com/release/6413">Archived</a> 2008-03-07 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (1999), <a rel="nofollow" class="external text" href="http://www.discogs.com/release/483465">House Classics Vol. One</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080226171213/http://www.discogs.com/release/483465">Archived</a> 2008-02-26 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (1997), <a rel="nofollow" class="external text" href="http://www.discogs.com/release/48064">100% House Classics Vol. 1</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080225083143/http://www.discogs.com/release/48064">Archived</a> 2008-02-25 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (1995), <a rel="nofollow" class="external text" href="http://www.discogs.com/release/64669">Classic House 2</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080227194741/http://www.discogs.com/release/64669">Archived</a> 2008-02-27 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (1994), <a rel="nofollow" class="external text" href="http://www.discogs.com/release/13123">Best of House Music Vol. 3</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080108110208/http://www.discogs.com/release/13123">Archived</a> 2008-01-08 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (1990), <a rel="nofollow" class="external text" href="http://www.discogs.com/release/30645">Best of Techno Vol. 4</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20071122234628/http://www.discogs.com/release/30645">Archived</a> 2007-11-22 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (1994), <a rel="nofollow" class="external text" href="http://www.discogs.com/release/146494">House Nation – Classic House Anthems Vol. 1</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20071224010643/http://www.discogs.com/release/146494">Archived</a> 2007-12-24 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> (1994), and <a rel="nofollow" class="external text" href="http://www.discogs.com/artist/Rhythim+Is+Rhythim">numerous other compilations</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090126070854/http://www.discogs.com/artist/Rhythim+Is+Rhythim">Archived</a> 2009-01-26 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> with the words "techno" or "house" in their titles. </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLawrence2005" class="citation web cs1">Lawrence, Tim (14 June 2005). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080321215250/http://www.timlawrence.info/linernotes/2005/acidhousesj.php">"Acid? Can You Jack? (Soul Jazz liner notes)"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.timlawrence.info/linernotes/2005/acidhousesj.php">the original</a> on 21 March 2008. Retrieved 3 April 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Acid%3F+Can+You+Jack%3F+%28Soul+Jazz+liner+notes%29&rft.date=2005-06-14&rft.aulast=Lawrence&rft.aufirst=Tim&rft_id=http%3A%2F%2Fwww.timlawrence.info%2Flinernotes%2F2005%2Facidhousesj.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> Brewster 2006:353 </li> <li id="cite_note-Rietveld_1998:40–50-51">^ <a href="#cite_ref-Rietveld_1998:40–50_51-0">a</a> <a href="#cite_ref-Rietveld_1998:40–50_51-1">b</a> Rietveld 1998:40–50 </li> <li id="cite_note-COSGROVE_ATKINS-52">^ <a href="#cite_ref-COSGROVE_ATKINS_52-0">a</a> <a href="#cite_ref-COSGROVE_ATKINS_52-1">b</a> Cosgrove 1988a. [Says Juan Atkins, ] "Within the last 5 years or so, the Detroit underground has been experimenting with technology, stretching it rather than simply using it. As the price of sequencers and synthesizers has dropped, so the experimentation has become more intense. Basically, we're tired of hearing about being in love or falling out, tired of the R&B system, so a new progressive sound has emerged. We call it techno!" </li> <li id="cite_note-COSGROVE_POSTSOUL-53">^ <a href="#cite_ref-COSGROVE_POSTSOUL_53-0">a</a> <a href="#cite_ref-COSGROVE_POSTSOUL_53-1">b</a> <a href="#cite_ref-COSGROVE_POSTSOUL_53-2">c</a> Cosgrove 1988a. Although the Detroit dance music has been casually lumped in with the jack virus of Chicago house, the young techno producers of the Seventh City claim to have their own sound, music that goes 'beyond the beat', creating a hybrid of post-punk, funkadelia and electro-disco...a mesmerizing underground of new dance which blends European industrial pop with black American garage funk...If the techno scene worships any gods, they are a pretty deranged deity, according to Derrick May. "The music is just like Detroit, a complete mistake. It's like George Clinton and Kraftwerk stuck in an elevator." ...And strange as it may seem, the techno scene looked to Europe, to Heaven 17, Depeche Mode and the Human League for its inspiration. ...[Says an Underground Resistance-related group] "Techno is all about simplicity. We don't want to compete with <a href="/wiki/Jimmy_Jam_and_Terry_Lewis" title="Jimmy Jam and Terry Lewis">Jimmy Jam and Terry Lewis</a>. 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 <a href="/wiki/Parliament_(band)" title="Parliament (band)">Parliament</a> and <a href="/wiki/Pete_Shelley" title="Pete Shelley">Pete Shelley</a>, 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." </li> <li id="cite_note-NDSOD_ELEVATOR-54">^ <a href="#cite_ref-NDSOD_ELEVATOR_54-0">a</a> <a href="#cite_ref-NDSOD_ELEVATOR_54-1">b</a> <a href="#cite_ref-NDSOD_ELEVATOR_54-2">c</a> Cosgrove 1988b. [Derrick May] sees the music as post-soul and believes it marks a deliberate break with previous traditions of black American music. "The music is just like Detroit" he claims, "a complete mistake, it's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company." </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> Rietveld 1998:124–127 </li> <li id="cite_note-56"><a href="#cite_ref-56">^</a> Rietveld 1998:127 </li> <li id="cite_note-57"><a href="#cite_ref-57">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAtkins1992" class="citation journal cs1">Atkins, Juan (22 May 1992). "Juan Atkins". <a href="/wiki/Dance_Music_Report" title="Dance Music Report">Dance Music Report</a>. 15 (9): 19. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0883-1122">0883-1122</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Dance+Music+Report&rft.atitle=Juan+Atkins&rft.volume=15&rft.issue=9&rft.pages=19&rft.date=1992-05-22&rft.issn=0883-1122&rft.aulast=Atkins&rft.aufirst=Juan&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-58"><a href="#cite_ref-58">^</a> Unterberger R., Hicks S., Dempsey J, (1999). Music USA: The Rough Guide, Rough Guides Ltd; illustrated edition.(<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781858284217" title="Special:BookSources/9781858284217">9781858284217</a>) </li> <li id="cite_note-techno.de-59"><a href="#cite_ref-techno.de_59-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20040214105200/http://www.techno.de/mixmag/interviews/DerrickMay1.html">"Interview: Derrick May – The Secret of Techno"</a>. <a href="/wiki/Mixmag" title="Mixmag">Mixmag</a>. 1997. Archived from <a rel="nofollow" class="external text" href="http://www.techno.de/mixmag/interviews/DerrickMay1.html">the original</a> on 14 February 2004. Retrieved 25 July 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Mixmag&rft.atitle=Interview%3A+Derrick+May+%E2%80%93+The+Secret+of+Techno&rft.date=1997&rft_id=http%3A%2F%2Fwww.techno.de%2Fmixmag%2Finterviews%2FDerrickMay1.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-60"><a href="#cite_ref-60">^</a> Fikentscher (2000:5), in discussing the definition of underground dance music as it relates to post-disco music in America, states that: "The prefix 'underground' does not merely serve to explain that the associated type of music – and its cultural context – are familiar only to a small number of informed persons. Underground also points to the sociological function of the music, framing it as one type of music that in order to have meaning and continuity is kept away, to large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral and aesthetic codes and values." Fikentscher, K. (2000), You Better Work!: Underground Dance Music in New York, Wesleyan University Press, Hanover, NH. </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> Rietveld 1998:54–59 </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> Brewster 2006:398–443 </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> Brewster 2006:419. I was on a mission because most people hated house music and it was all rare groove and hip hop...I'd play Strings of Life at the Mud Club and clear the floor. Three weeks later you could see pockets of people come onto the floor, dancing to it and going crazy – and this was without ecstasy – Mark Moore commenting on the initially slow response to House music in 1987. </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> Cosgrove 1988a. Although it can now be heard in Detroit's leading clubs, the local area has shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World (New York), The Hacienda (Manchester), Rock City (Nottingham) and Downbeat (Leeds) where the techno sound has found most support. Ironically, the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its name with one of Britain's oldest new romantic groups. </li> <li id="cite_note-Sicko_1999:98-65">^ <a href="#cite_ref-Sicko_1999:98_65-0">a</a> <a href="#cite_ref-Sicko_1999:98_65-1">b</a> <a href="#cite_ref-Sicko_1999:98_65-2">c</a> Sicko 1999:98 </li> <li id="cite_note-discogs-66"><a href="#cite_ref-discogs_66-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.discogs.com/release/57919">"Various – Techno! The New Dance Sound Of Detroit (Vinyl, LP) at Discogs"</a>. discogs.com. 4 May 1988. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20190827105019/https://www.discogs.com/release/57919">Archived</a> from the original on 27 August 2019. Retrieved 13 August 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Various+%E2%80%93+Techno%21+The+New+Dance+Sound+Of+Detroit+%28Vinyl%2C+LP%29+at+Discogs&rft.pub=discogs.com&rft.date=1988-05-04&rft_id=http%3A%2F%2Fwww.discogs.com%2Frelease%2F57919&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFChin1990" class="citation book cs1">Chin, Brian (March 1990). House Music All Night Long – Best of House Music Vol. 3 (liner notes). Profile Records, Inc.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=House+Music+All+Night+Long+%E2%80%93+Best+of+House+Music+Vol.+3+%28liner+notes%29&rft.pub=Profile+Records%2C+Inc.&rft.date=1990-03&rft.aulast=Chin&rft.aufirst=Brian&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> Detroit's "techno" ... and many more stylistic outgrowths have occurred since the word "house" gained national currency in 1985. </li> <li id="cite_note-AtkinsAfroPop-68">^ <a href="#cite_ref-AtkinsAfroPop_68-0">a</a> <a href="#cite_ref-AtkinsAfroPop_68-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBishopGlasspiegel2011" class="citation web cs1">Bishop, Marlon; Glasspiegel, Wills (14 June 2011). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110623194409/http://www.afropop.org/multi/interview/ID/203/">"Juan Atkins [interview for Afropop Worldwide]"</a>. World Music Productions. Archived from <a rel="nofollow" class="external text" href="http://www.afropop.org/multi/interview/ID/203/">the original</a> on 23 June 2011. Retrieved 17 June 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Juan+Atkins+%5Binterview+for+Afropop+Worldwide%5D&rft.pub=World+Music+Productions&rft.date=2011-06-14&rft.aulast=Bishop&rft.aufirst=Marlon&rft.au=Glasspiegel%2C+Wills&rft_id=http%3A%2F%2Fwww.afropop.org%2Fmulti%2Finterview%2FID%2F203%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSavage1993" class="citation news cs1">Savage, Jon (1993). <a rel="nofollow" class="external text" href="http://www.rocksbackpages.com/article.html?ArticleID=10053">"Machine Soul: A History Of Techno"</a>. The Village Voice. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20081219015826/http://www.rocksbackpages.com/article.html?ArticleID=10053">Archived</a> from the original on 2008-12-19. Retrieved 2008-07-22.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Village+Voice&rft.atitle=Machine+Soul%3A+A+History+Of+Techno&rft.date=1993&rft.aulast=Savage&rft.aufirst=Jon&rft_id=http%3A%2F%2Fwww.rocksbackpages.com%2Farticle.html%3FArticleID%3D10053&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> "The U.K. likes discovering trends," Rushton says. "Because of the way that the media works, dance culture happens very quickly. It's not hard to hype something up. ...When the first techno records came in, the early Model 500, Reese, and Derrick May material, I wanted to follow up the Detroit connection. I took a flyer and called up Transmat; I got Derrick May and we started to release his records in England. ...Derrick came over with a bag of tapes, some of which didn't have any name: tracks which are now classics, like 'Sinister' and 'Strings of Life.' Derrick then introduced us to Kevin Saunderson, and we quickly realized that there was a cohesive sound of these records, and that we could do a really good compilation album. We got backing from Virgin Records and flew to Detroit. We met Derrick, Kevin, and Juan and went out to dinner, trying to think of a name. At the time, everything was house, house house. We thought of Motor City House Music, that kind of thing, but Derrick, Kevin, and Juan kept on using the word techno. They had it in their heads without articulating it; it was already part of their language." </li> <li id="cite_note-Sicko2010_118120-70">^ <a href="#cite_ref-Sicko2010_118120_70-0">a</a> <a href="#cite_ref-Sicko2010_118120_70-1">b</a> Sicko 2010:118–120 </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> Sicko 2010:71 </li> <li id="cite_note-FantaziaMay-72">^ <a href="#cite_ref-FantaziaMay_72-0">a</a> <a href="#cite_ref-FantaziaMay_72-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.fantazia.org.uk/DJs/derrickmay.htm">"DJ Derek May Profile"</a>. Fantazia Rave Archive. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110929210826/http://fantazia.org.uk/DJs/derrickmay.htm">Archived</a> from the original on 29 September 2011. Retrieved 1 October 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=DJ+Derek+May+Profile&rft.pub=Fantazia+Rave+Archive&rft_id=http%3A%2F%2Fwww.fantazia.org.uk%2FDJs%2Fderrickmay.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> Sicko 1999:98,101 </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Sicko 1999:100,102 </li> <li id="cite_note-SICKO95_120-75">^ <a href="#cite_ref-SICKO95_120_75-0">a</a> <a href="#cite_ref-SICKO95_120_75-1">b</a> Sicko 1999:95–120 </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> Sicko 1999:102. Once Rushton and Atkins set techno apart with the Techno! compilation, the music took off on its own course, no longer parallel to the Windy City's progeny. And as the 1980s came to a close, the difference between techno and house music became increasingly pronounced, with techno's instrumentation growing more and more adventurous. </li> <li id="cite_note-SICKO92-77">^ <a href="#cite_ref-SICKO92_77-0">a</a> <a href="#cite_ref-SICKO92_77-1">b</a> <a href="#cite_ref-SICKO92_77-2">c</a> Sicko 1999:92–94 </li> <li id="cite_note-techno_term-78">^ <a href="#cite_ref-techno_term_78-0">a</a> <a href="#cite_ref-techno_term_78-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHorst1974" class="citation book cs1 cs1-prop-foreign-lang-source">Horst, Dirk (1974). 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(2008), We Call It Techno!, Sense Music & Media, Berlin, DE. </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.electronicbeats.net/frankfurt-diy-history/">"How Frankfurt's '80s Tape Scene Laid the Foundation for the City's Techno Renaissance"</a>. 15 October 2019. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210121210231/https://www.electronicbeats.net/frankfurt-diy-history/">Archived</a> from the original on 21 January 2021. Retrieved 19 December 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=How+Frankfurt%27s+%2780s+Tape+Scene+Laid+the+Foundation+for+the+City%27s+Techno+Renaissance&rft.date=2019-10-15&rft_id=https%3A%2F%2Fwww.electronicbeats.net%2Ffrankfurt-diy-history%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-Tele_5-82"><a href="#cite_ref-Tele_5_82-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation audio-visual cs1 cs1-prop-foreign-lang-source">Fred Kogel (8 December 1988). <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=gu78EKCS54g">Tanzhouse Acid House Special</a> (in German). <a href="/wiki/Tele_5" title="Tele 5">Tele 5</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230416235557/https://www.youtube.com/watch?v=gu78EKCS54g">Archived</a> from the original on 16 April 2023. 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(1996), Low end theory, The Wire, No. 146, 4/96. </li> <li id="cite_note-spiegel_19960826-96"><a href="#cite_ref-spiegel_19960826_96-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation magazine cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="http://magazin.spiegel.de/EpubDelivery/spiegel/pdf/9085950">"Youth: Love and Cabbage"</a>. <a href="/wiki/Der_Spiegel" title="Der Spiegel">Der Spiegel</a> (in German). 26 August 1996. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170226050058/http://magazin.spiegel.de/EpubDelivery/spiegel/pdf/9085950">Archived</a> from the original on 26 February 2017. 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Presenting themselves as a sort of techno <a href="/wiki/Public_Enemy_(band)" class="mw-redirect" title="Public Enemy (band)">Public Enemy</a>, Underground Resistance were dedicated to 'fighting the power' not just through rhetoric but through fostering their own autonomy. </li> <li id="cite_note-Sicko_1999:80-99">^ <a href="#cite_ref-Sicko_1999:80_99-0">a</a> <a href="#cite_ref-Sicko_1999:80_99-1">b</a> Sicko 1999:80 </li> <li id="cite_note-100"><a href="#cite_ref-100">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFPrice2010" class="citation cs2">Price, Emmett George, ed. 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No. 161. p. 21.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wire&rft.atitle=From+Detroit+To+Deep+Space&rft.issue=161&rft.pages=21&rft.date=1997-07&rft.aulast=Shallcross&rft.aufirst=Mike&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-108"><a href="#cite_ref-108">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.residentadvisor.net/club.aspx?id=1918">"Resident Advisor: Sub Club"</a>. <a href="/wiki/Resident_Advisor" title="Resident Advisor">Resident Advisor</a>. 2 March 2018. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180328225051/https://www.residentadvisor.net/club.aspx?id=1918">Archived</a> from the original on 28 March 2018. Retrieved 2 March 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Resident+Advisor%3A+Sub+Club&rft.pub=Resident+Advisor&rft.date=2018-03-02&rft_id=https%3A%2F%2Fwww.residentadvisor.net%2Fclub.aspx%3Fid%3D1918&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-109"><a href="#cite_ref-109">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.dmcworld.net/features/laurence-malice-1/amp/">"DMC World – Laurence Malice"</a>. tntmagazine.com. 2 March 2018. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20171105095139/http://www.dmcworld.net/features/laurence-malice-1/amp/">Archived</a> from the original on 5 November 2017. Retrieved 2 March 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=DMC+World+%E2%80%93+Laurence+Malice&rft.pub=tntmagazine.com&rft.date=2018-03-02&rft_id=http%3A%2F%2Fwww.dmcworld.net%2Ffeatures%2Flaurence-malice-1%2Famp%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-110"><a href="#cite_ref-110">^</a> <a rel="nofollow" class="external text" href="http://www.discogs.com/release/48297">Tresor II: Berlin & Detroit – A Techno Alliance</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20081220111736/http://www.discogs.com/release/48297">Archived</a> 2008-12-20 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> album details at Discogs </li> <li id="cite_note-mixmag_moroder-111">^ <a href="#cite_ref-mixmag_moroder_111-0">a</a> <a href="#cite_ref-mixmag_moroder_111-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBrewster2017" class="citation web cs1">Brewster, Bill (June 22, 2017). <a rel="nofollow" class="external text" href="https://mixmag.net/feature/i-feel-love-donna-summer-and-giorgio-moroder-created-the-template-for-dance-music-as-we-know-it">"I feel love: Donna Summer and Giorgio Moroder created the template for dance music as we know it"</a>. <a href="/wiki/Mixmag" title="Mixmag">Mixmag</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170622124251/https://mixmag.net/feature/i-feel-love-donna-summer-and-giorgio-moroder-created-the-template-for-dance-music-as-we-know-it">Archived</a> from the original on June 22, 2017. Retrieved May 26, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=I+feel+love%3A+Donna+Summer+and+Giorgio+Moroder+created+the+template+for+dance+music+as+we+know+it&rft.pub=Mixmag&rft.date=2017-06-22&rft.aulast=Brewster&rft.aufirst=Bill&rft_id=https%3A%2F%2Fmixmag.net%2Ffeature%2Fi-feel-love-donna-summer-and-giorgio-moroder-created-the-template-for-dance-music-as-we-know-it&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-112"><a href="#cite_ref-112">^</a> Sicko 1999:199–200 </li> <li id="cite_note-113"><a href="#cite_ref-113">^</a> Mike Banks <a rel="nofollow" class="external text" href="http://www.thewire.co.uk/articles/271/">interview</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120908114421/http://www.thewire.co.uk/articles/271/">Archived</a> 2012-09-08 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, The Wire, Issue #285 (November '07) </li> <li id="cite_note-114"><a href="#cite_ref-114">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFOsselaer2001" class="citation web cs1">Osselaer, John (1 February 2001). <a rel="nofollow" class="external text" href="http://www.spannered.org/music/802/">"Robert Hood interview"</a>. Overload Media/Spannered. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230219101856/http://www.spannered.org/music/802/">Archived</a> from the original on 19 February 2023. Retrieved 2 December 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Robert+Hood+interview&rft.pub=Overload+Media%2FSpannered&rft.date=2001-02-01&rft.aulast=Osselaer&rft.aufirst=John&rft_id=http%3A%2F%2Fwww.spannered.org%2Fmusic%2F802%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-SICKO_UNKNOWN-115"><a href="#cite_ref-SICKO_UNKNOWN_115-0">^</a> Sicko 1999 </li> <li id="cite_note-116"><a href="#cite_ref-116">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRubin2001" class="citation news cs1">Rubin, Mike (30 September 2001). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2001/09/30/arts/music-techno-dances-with-jazz.html?pagewanted=all">"Techno Dances With Jazz"</a>. New York Times. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20130524151310/http://www.nytimes.com/2001/09/30/arts/music-techno-dances-with-jazz.html?pagewanted=all">Archived</a> from the original on 24 May 2013. Retrieved 2 December 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=New+York+Times&rft.atitle=Techno+Dances+With+Jazz&rft.date=2001-09-30&rft.aulast=Rubin&rft.aufirst=Mike&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2001%2F09%2F30%2Farts%2Fmusic-techno-dances-with-jazz.html%3Fpagewanted%3Dall&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> "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 <a href="/wiki/Kirk_Degiorgio" title="Kirk Degiorgio">Kirk Degiorgio</a>, 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.). </li> <li id="cite_note-117"><a href="#cite_ref-117">^</a> Sicko 1999:198 </li> <li id="cite_note-118"><a href="#cite_ref-118">^</a> Gerald Simpson (<a href="/wiki/A_Guy_Called_Gerald" title="A Guy Called Gerald">A Guy Called Gerald</a>) maintains that "Pacific State" was intended for a <a href="/wiki/John_Peel" title="John Peel">John Peel</a> session exclusively, but 808 State's <a href="/wiki/Graham_Massey" title="Graham Massey">Graham Massey</a> and Martin Price added additional elements by drawing upon Massey's collection of exotic jazz records for inspiration. This led to the inclusion of a distinctive saxophone solo. Massey recalls that: We were trying to do something in the vein of <a href="/wiki/Marshall_Jefferson" title="Marshall Jefferson">Marshall Jefferson</a>'s 'Open Your Eyes'...That track was happening everywhere. The production was released as a white label in May 1989 and later issued on the mini-album <a href="/wiki/Quadrastate" title="Quadrastate">Quadrastate</a> at the end of July that year, just as the <a href="/wiki/Second_Summer_of_Love" title="Second Summer of Love">second Summer of Love</a> was flowering. Massey remembers taking the white label to Mike Pickering, Graeme Park, and Jon Da Silva, and notes that it rose through the ranks to become the last tune of the night. Lawrence, T (2006), Discotheque: Haçienda, sleeve notes for album release of the same name, retrieved from the <a rel="nofollow" class="external text" href="http://www.timlawrence.info/linernotes/2006/Hacienda.php">authors website</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20060615114018/http://timlawrence.info/linernotes/2006/Hacienda.php">Archived</a> 15 June 2006 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-119"><a href="#cite_ref-119">^</a> Butler 2006:114. Graham Massey has discussed the use of unusual meters in 808 State's music commenting online on 18 June 2004, that: I always thought Cobra Bora could have stood a chance. It was sometimes played at Hot Night at the Hacienda despite its funny time signature (the feel of the track was created by combining parts in 6 8 time with others in 4 4). </li> <li id="cite_note-KODWO-120">^ <a href="#cite_ref-KODWO_120-0">a</a> <a href="#cite_ref-KODWO_120-1">b</a> Kodwo 1998:127 </li> <li id="cite_note-121"><a href="#cite_ref-121">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20080705073046/http://www.submerge.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=SUBCD-3010-2">"Galaxy 2 Galaxy – A Hi Tech Jazz Compilation"</a>. Submerge. Archived from <a rel="nofollow" class="external text" href="http://www.submerge.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=SUBCD-3010-2">the original</a> on 5 July 2008. Retrieved 21 July 2008.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Galaxy+2+Galaxy+%E2%80%93+A+Hi+Tech+Jazz+Compilation&rft.pub=Submerge&rft_id=http%3A%2F%2Fwww.submerge.com%2FMerchant2%2Fmerchant.mvc%3FScreen%3DPROD%26Product_Code%3DSUBCD-3010-2&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> "Galaxy 2 Galaxy is a band that was conceptualized with the first hitech Jazz record produced by UR in 1986/87 and later released in 1990 which was Nation 2 Nation (UR-005). Jeff Mills and Mike Banks had visions of Jazz music and musicians operating on the same "man machine" doctrine dropped on them from Kraftwerk. Early experiments with synthesizers and jazz by artists like Herbie Hancock, Stevie Wonder, Weather Report, Return to Forever, Larry Heard and Lenny White's Astral Pirates also pointed them in this direction. UR went on to produce and further innovate this form of music which was coined 'Hitech Jazz' by fans after the historic 1993 release of UR's Galaxy 2 Galaxy (UR-025) album which included the underground UR smash titled 'Hitech Jazz'." </li> <li id="cite_note-122"><a href="#cite_ref-122">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.discogs.com/artist/Dave+Angel">"Dave Angel: Background Overview at Discogs"</a>. 13 February 2003. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070905014624/http://www.discogs.com/artist/Dave+Angel">Archived</a> from the original on 5 September 2007. Retrieved 11 August 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Dave+Angel%3A+Background+Overview+at+Discogs&rft.date=2003-02-13&rft_id=http%3A%2F%2Fwww.discogs.com%2Fartist%2FDave%2BAngel&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-123"><a href="#cite_ref-123">^</a> <a rel="nofollow" class="external text" href="http://www.techno.de/mixmag/interviews/dave.html">Angelic Upstart</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080428181751/http://www.techno.de/mixmag/interviews/dave.html">Archived</a> 28 April 2008 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>: Mixmag interview with Dave Angel detailing his interest in jazz. Retrieved from <a rel="nofollow" class="external text" href="http://www.techno.de/">Techno.de</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240524180850/https://www.techno.de/">Archived</a> 2024-05-24 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-124"><a href="#cite_ref-124">^</a> Sicko 2010:138–139 </li> <li id="cite_note-125"><a href="#cite_ref-125">^</a> Brewster 2006:364 </li> <li id="cite_note-126"><a href="#cite_ref-126">^</a> Reynolds 1999:183 </li> <li id="cite_note-127"><a href="#cite_ref-127">^</a> Reynolds 1999:182 </li> <li id="cite_note-128"><a href="#cite_ref-128">^</a> Anker M., Herrington T., Young R. (1995), <a rel="nofollow" class="external text" href="http://www.thewire.co.uk/articles/220/">New Complexity Techno</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080101222354/http://www.thewire.co.uk/articles/220/">Archived</a> 2008-01-01 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, The Wire, Issue #131 (January '95) </li> <li id="cite_note-129"><a href="#cite_ref-129">^</a> Track listing for the Warp Records 1992 compilation <a rel="nofollow" class="external text" href="http://www.discogs.com/release/29372">Artificial Intelligence</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080224043710/http://www.discogs.com/release/29372">Archived</a> 2008-02-24 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> </li> <li id="cite_note-130"><a href="#cite_ref-130">^</a> Birke S. (2007), <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080413025812/http://www.independent.co.uk/arts-entertainment/music/music-magazine/label-profile/label-profile-warp-records-768021.html">"Label Profile: Warp Records"</a>, The Independent (UK), Music Magazine (supplement), newspaper article published February 11, 2007 </li> <li id="cite_note-131"><a href="#cite_ref-131">^</a> "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 (<a href="/wiki/Aphex_Twin" title="Aphex Twin">Aphex Twin</a>) were as adept at brutal dancefloor tracks as what its detractors present as self-indulgent ambient 'noodling'". Blake, Andrew, Living Through Pop, Routledge, 1999. p 155. </li> <li id="cite_note-132"><a href="#cite_ref-132">^</a> Reynolds 1999:181 </li> <li id="cite_note-133"><a href="#cite_ref-133">^</a> Reynolds 1999:163. The traveling lifestyle began in the early seventies, as convoys of hippies spent the summer wandering from site to site on the free festival circuit. Gradually, these proto-<a href="/wiki/Crusty" class="mw-redirect" title="Crusty">crusty</a> remnants of the original <a href="/wiki/Counterculture" title="Counterculture">counterculture</a> built up a neomedieval <a href="/wiki/Economy" title="Economy">economy</a> based on crafts, alternative medicine, and entertainment...In the mid-eighties, as <a href="/wiki/Squatting" title="Squatting">squatting</a> 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. </li> <li id="cite_note-STJOHN-134">^ <a href="#cite_ref-STJOHN_134-0">a</a> <a href="#cite_ref-STJOHN_134-1">b</a> <a href="#cite_ref-STJOHN_134-2">c</a> <a href="#cite_ref-STJOHN_134-3">d</a> St. John 2001:100–101 </li> <li id="cite_note-135"><a href="#cite_ref-135">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.opsi.gov.uk/acts/acts1994/Ukpga_19940033_en_6.htm#mdiv63">"Public Order: Collective Trespass or Nuisance on Land – Powers in relation to raves"</a>. Criminal Justice and Public Order Act 1994. <a href="/wiki/Her_Majesty%27s_Stationery_Office" class="mw-redirect" title="Her Majesty's Stationery Office">Her Majesty's Stationery Office</a>. 1994. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20060104043429/http://www.opsi.gov.uk/acts/acts1994/Ukpga_19940033_en_6.htm#mdiv63">Archived</a> from the original on 4 January 2006. Retrieved 17 January 2006.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Criminal+Justice+and+Public+Order+Act+1994&rft.atitle=Public+Order%3A+Collective+Trespass+or+Nuisance+on+Land+%E2%80%93+Powers+in+relation+to+raves&rft.date=1994&rft_id=http%3A%2F%2Fwww.opsi.gov.uk%2Facts%2Facts1994%2FUkpga_19940033_en_6.htm%23mdiv63&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-136"><a href="#cite_ref-136">^</a> Bush, Calvin, Techno – The Final Frontier?, Muzik, Issue No.4, September 1995, p.48-50 </li> <li id="cite_note-137"><a href="#cite_ref-137">^</a> Cox 2004:414. Any form of electronica genealogically related to Techno but departing from it in one way or another. </li> <li id="cite_note-138"><a href="#cite_ref-138">^</a> Loubet E.& Couroux M., Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere, Computer Music Journal, Vol. 24, No. 4. (Winter, 2000), pp. 19–32. </li> <li id="cite_note-139"><a href="#cite_ref-139">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRossLysloffGay2003" class="citation book cs1">Ross, Andrew; Lysloff, René; Gay, Leslie (2003). <a rel="nofollow" class="external text" href="https://archive.org/details/musictechnocultu00lysl/page/185">Music and Technoculture</a>. Wesleyan University Press. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/musictechnocultu00lysl/page/185">185–186</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8195-6514-8" title="Special:BookSources/0-8195-6514-8"><bdi>0-8195-6514-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+and+Technoculture&rft.pages=185-186&rft.pub=Wesleyan+University+Press&rft.date=2003&rft.isbn=0-8195-6514-8&rft.aulast=Ross&rft.aufirst=Andrew&rft.au=Lysloff%2C+Ren%C3%A9&rft.au=Gay%2C+Leslie&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fmusictechnocultu00lysl%2Fpage%2F185&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-140"><a href="#cite_ref-140">^</a> Chaplin, Julia & Michel, Sia. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=HpC1D--hcoAC&q=fire+starters&pg=PA40">Fire Starters</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230403212927/https://books.google.com/books?id=HpC1D--hcoAC&q=fire+starters&pg=PA40">Archived</a> 2023-04-03 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, <a href="/wiki/Spin_Magazine" class="mw-redirect" title="Spin Magazine">Spin Magazine</a>, page 40, March 1997, Spin Media LLC. </li> <li id="cite_note-141"><a href="#cite_ref-141">^</a> Guiccione, Bob Jr., <a rel="nofollow" class="external text" href="https://books.google.com/books?id=UPmf0Kr8tR0C&dq=%22techno+%3D+death%22&pg=PA95">Live to Tell,</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230411192211/https://books.google.com/books?id=UPmf0Kr8tR0C&dq=%22techno+=+death%22&pg=PA95">Archived</a> 2023-04-11 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> <a href="/wiki/Spin_Magazine" class="mw-redirect" title="Spin Magazine">Spin Magazine</a>, page 95, January 1996, Spin Media LLC. </li> <li id="cite_note-142"><a href="#cite_ref-142">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFCinquemani" class="citation magazine cs1">Cinquemani, Sal. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100102040143/http://slantmagazine.com/music/music_review.asp?ID=64">"Miss E...So Addictive"</a>. <a href="/wiki/Slant_Magazine" title="Slant Magazine">Slant Magazine</a>. Archived from <a rel="nofollow" class="external text" href="http://www.slantmagazine.com/music/music_review.asp?ID=64">the original</a> on 2 January 2010. Retrieved 21 December 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Slant+Magazine&rft.atitle=Miss+E...So+Addictive&rft.aulast=Cinquemani&rft.aufirst=Sal&rft_id=http%3A%2F%2Fwww.slantmagazine.com%2Fmusic%2Fmusic_review.asp%3FID%3D64&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-143"><a href="#cite_ref-143">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGorell" class="citation news cs1">Gorell, Robert. <a rel="nofollow" class="external text" href="http://www.metrotimes.com/editorial/story.asp?id=4496">"Permanent record: Jeff Mills talks Detroit techno and the exhibit that hopes to explain it"</a>. Metro Times. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070929100222/http://www.metrotimes.com/editorial/story.asp?id=4496">Archived</a> from the original on 29 September 2007. Retrieved 11 August 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Metro+Times&rft.atitle=Permanent+record%3A+Jeff+Mills+talks+Detroit+techno+and+the+exhibit+that+hopes+to+explain+it.&rft.aulast=Gorell&rft.aufirst=Robert&rft_id=http%3A%2F%2Fwww.metrotimes.com%2Feditorial%2Fstory.asp%3Fid%3D4496&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation pressrelease cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20110711020324/http://media.ford.com/article_display.cfm?article_id=6225">"Ford Unveils New Limited Street Edition Focus"</a> (Press release). Ford Motors. 6 October 2000. Archived from <a rel="nofollow" class="external text" href="http://media.ford.com/article_display.cfm?article_id=6225">the original</a> on 11 July 2011. Retrieved 10 January 2009. <q>"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.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Ford+Unveils+New+Limited+Street+Edition+Focus&rft.pub=Ford+Motors&rft.date=2000-10-06&rft_id=http%3A%2F%2Fmedia.ford.com%2Farticle_display.cfm%3Farticle_id%3D6225&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-145"><a href="#cite_ref-145">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation pressrelease cs1"><a rel="nofollow" class="external text" href="http://www.theautochannel.com/news/press/date/20001108/press030389.html">"New Ford Focus Commercial Features Ground Breaking Juan Atkins' Techno Hit"</a> (Press release). 11 August 2000. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240524180839/https://www.theautochannel.com/news/press/date/20001108/press030389.html">Archived</a> from the original on 24 May 2024. Retrieved 10 January 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=New+Ford+Focus+Commercial+Features+Ground+Breaking+Juan+Atkins%27+Techno+Hit&rft.date=2000-08-11&rft_id=http%3A%2F%2Fwww.theautochannel.com%2Fnews%2Fpress%2Fdate%2F20001108%2Fpress030389.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-LUNAR-146">^ <a href="#cite_ref-LUNAR_146-0">a</a> <a href="#cite_ref-LUNAR_146-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMcGarvey" class="citation journal cs1">McGarvey, Sterling. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160304210117/http://www.lunarmagazine.com/features/may.php">"Derrick May"</a>. Lunar Magazine. Archived from <a rel="nofollow" class="external text" href="http://www.lunarmagazine.com/features/may.php">the original</a> on 2016-03-04. Retrieved 2008-04-03.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Lunar+Magazine&rft.atitle=Derrick+May&rft.aulast=McGarvey&rft.aufirst=Sterling&rft_id=http%3A%2F%2Fwww.lunarmagazine.com%2Ffeatures%2Fmay.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-147"><a href="#cite_ref-147">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBaishya2005" class="citation journal cs1">Baishya, Kopinjol (17 October 2005). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110708143630/http://www.chicagoflame-inferno.com/news/2005/10/17/Music/Techno.As.It.Should.Be.Juan.Atkins.And.Minimal.Techno-1023037.shtml">"Techno as it should be: Juan Atkins and minimal techno"</a>. Chicago Flame. Archived from <a rel="nofollow" class="external text" href="http://www.chicagoflame-inferno.com/news/2005/10/17/Music/Techno.As.It.Should.Be.Juan.Atkins.And.Minimal.Techno-1023037.shtml">the original</a> on 8 July 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Chicago+Flame&rft.atitle=Techno+as+it+should+be%3A+Juan+Atkins+and+minimal+techno&rft.date=2005-10-17&rft.aulast=Baishya&rft.aufirst=Kopinjol&rft_id=http%3A%2F%2Fwww.chicagoflame-inferno.com%2Fnews%2F2005%2F10%2F17%2FMusic%2FTechno.As.It.Should.Be.Juan.Atkins.And.Minimal.Techno-1023037.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-148"><a href="#cite_ref-148">^</a> 79年8月の「ロックマガジン」の増刊号の「MODERN MUSIC」 </li> <li id="cite_note-149"><a href="#cite_ref-149">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.mameshibarecords.com/items/60037702">"【7EP】YMO – the Spirit of Techno 過激な淑女カラオケ"</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20230325070439/https://www.mameshibarecords.com/items/60037702">Archived</a> from the original on 2023-03-25. 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Retrieved 22 November 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Rolling+Stone&rft.atitle=Yellow+Magic+Orchestra&rft.date=1980-06-12&rft.aulast=Henke&rft.aufirst=James&rft_id=https%3A%2F%2Fwww.rollingstone.com%2Fmusic%2Fmusic-news%2Fyellow-magic-orchestra-188812%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-151"><a href="#cite_ref-151">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.discogs.com/label/744420-%E3%83%86%E3%82%AF%E3%83%8E%E6%AD%8C%E8%AC%A1?page=1">"techno kayo"</a>. Retrieved 2025-01-23.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=techno+kayo&rft_id=https%3A%2F%2Fwww.discogs.com%2Flabel%2F744420-%25E3%2583%2586%25E3%2582%25AF%25E3%2583%258E%25E6%25AD%258C%25E8%25AC%25A1%3Fpage%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> <a rel="nofollow" class="external autonumber" href="http://www.americanradiohistory.com/hd2/IDX-Business/Music/Archive-Billboard-IDX/IDX/80s/1985/BB-1985-10-05-OCR-Page-0070.pdf">[1]</a> [<a href="/wiki/Wikipedia:Link_rot" title="Wikipedia:Link rot">dead link</a>‍] </li> <li id="cite_note-153"><a href="#cite_ref-153">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSicko1994" class="citation magazine cs1">Sicko, Dan (1 July 1994). <a rel="nofollow" class="external text" href="https://www.wired.com/1994/07/techno/">"The Roots of Techno"</a>. Wired. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200623134605/https://www.wired.com/1994/07/techno/">Archived</a> from the original on 23 June 2020. Retrieved 22 November 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Wired&rft.atitle=The+Roots+of+Techno&rft.date=1994-07-01&rft.aulast=Sicko&rft.aufirst=Dan&rft_id=https%3A%2F%2Fwww.wired.com%2F1994%2F07%2Ftechno%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-154"><a href="#cite_ref-154">^</a> Sicko 1999:45–49 </li> <li id="cite_note-155"><a href="#cite_ref-155">^</a> Brewster 2006:343–346 </li> <li id="cite_note-Reynolds_1999:190-156">^ <a href="#cite_ref-Reynolds_1999:190_156-0">a</a> <a href="#cite_ref-Reynolds_1999:190_156-1">b</a> Reynolds 1999:190 </li> <li id="cite_note-157"><a href="#cite_ref-157">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGillen2001" class="citation journal cs1">Gillen, Brendan (21 November 2001). <a rel="nofollow" class="external text" href="http://www.metrotimes.com/editorial/story.asp?id=2691">"Name that number: The history of Detroit's first techno record"</a>. Metro Times Detroit. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20081221001249/http://www.metrotimes.com/editorial/story.asp?id=2691">Archived</a> from the original on 21 December 2008. Retrieved 10 January 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Metro+Times+Detroit&rft.atitle=Name+that+number%3A+The+history+of+Detroit%27s+first+techno+record&rft.date=2001-11-21&rft.aulast=Gillen&rft.aufirst=Brendan&rft_id=http%3A%2F%2Fwww.metrotimes.com%2Feditorial%2Fstory.asp%3Fid%3D2691&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-krettenauer-158"><a href="#cite_ref-krettenauer_158-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKrettenauer2017" class="citation book cs1">Krettenauer, Thomas (2017). "Hit Men: Giorgio Moroder, Frank Farian and the eurodisco sound of the 1970s/80s". In Ahlers, Michael; Jacke, Christoph (eds.). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=BjklDwAAQBAJ">Perspectives on German Popular Music</a>. London: <a href="/wiki/Routledge" title="Routledge">Routledge</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4724-7962-4" title="Special:BookSources/978-1-4724-7962-4"><bdi>978-1-4724-7962-4</bdi></a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20240524175906/https://books.google.com/books?id=BjklDwAAQBAJ">Archived</a> from the original on 2024-05-24. Retrieved 2022-05-26.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Hit+Men%3A+Giorgio+Moroder%2C+Frank+Farian+and+the+eurodisco+sound+of+the+1970s%2F80s&rft.btitle=Perspectives+on+German+Popular+Music&rft.place=London&rft.pub=Routledge&rft.date=2017&rft.isbn=978-1-4724-7962-4&rft.aulast=Krettenauer&rft.aufirst=Thomas&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DBjklDwAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-ZPKM-159"><a href="#cite_ref-ZPKM_159-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://songlexikon.de/songs/ifeellove/">"Donna Summer: I Feel Love"</a> (in German). Zentrum für Populäre Kultur und Musik. 8 May 2017. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220524182438/https://songlexikon.de/songs/ifeellove/">Archived</a> from the original on 24 May 2022. Retrieved May 26, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Donna+Summer%3A+I+Feel+Love&rft.pub=Zentrum+f%C3%BCr+Popul%C3%A4re+Kultur+und+Musik&rft.date=2017-05-08&rft_id=https%3A%2F%2Fsonglexikon.de%2Fsongs%2Fifeellove%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-160"><a href="#cite_ref-160">^</a> Sicko 1999:48 </li> <li id="cite_note-keyboard_28-161"><a href="#cite_ref-keyboard_28_161-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=kJ4JAQAAMAAJ">Keyboard, Volume 19, Issues 7–12</a>. 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Retrieved 3 October 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Peter+Stenshoel%27s+Album+of+the+Week%3A+What%2C+Me+Worry%3F+by+Yukihiro+Takahashi&rft.pub=KPCC&rft.date=2011-05-18&rft.aulast=Stenshoel&rft.aufirst=Peter&rft_id=https%3A%2F%2Fwww.scpr.org%2Fblogs%2Fofframp%2F2011%2F05%2F18%2F2970%2Fpeter-stenshoels-album-week-what-me-worry-yukihiro%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-163"><a href="#cite_ref-163">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20070813132527/http://raymondscott.com/mripr.html">"Raymond Scott's Manhattan Research"</a>. 21 February 2006. Archived from <a rel="nofollow" class="external text" href="http://raymondscott.com/mripr.html">the original</a> on 13 August 2007. 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Overview of the original ReBirth RB-338 published by Sound on Sound magazine in August 1997 </li> <li id="cite_note-176"><a href="#cite_ref-176">^</a> <a rel="nofollow" class="external text" href="http://www.soundonsound.com/sos/nov98/articles/rebirth.htm">THE COOL OF REBIRTH</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150608013644/http://www.soundonsound.com/sos/nov98/articles/rebirth.htm">Archived</a> 2015-06-08 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> Steinberg/Propellerheads Rebirth RB-338 v2.0 Techno Microcomposer Software For Mac & PC. Overview of the ReBirth RB-338 V2 published by Sound on Sound magazine in November 1998 </li> <li id="cite_note-177"><a href="#cite_ref-177">^</a> Jim Aikin, Keyboard Magazine, reprinted in Software Synthesizers: The Definitive Guide to Virtual Musical Instruments. 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Published by Sound on Sound magazine in March 2001 </li> <li id="cite_note-180"><a href="#cite_ref-180">^</a> Overview of <a rel="nofollow" class="external text" href="https://www.propellerheads.se/reason">Reason 10</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160716075744/https://www.propellerheads.se/reason">Archived</a> 2016-07-16 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> hosted at the Propellerhead website. </li> <li id="cite_note-181"><a href="#cite_ref-181">^</a> Emmerson, S. (2007), Living Electronic Music, Ashgate, Adlershot, pp. 111–113. </li> <li id="cite_note-182"><a href="#cite_ref-182">^</a> Emmerson, S. (2007), pp. 80–81. </li> <li id="cite_note-183"><a href="#cite_ref-183">^</a> Emmerson, S. (2007), pp. 115. </li> <li id="cite_note-184"><a href="#cite_ref-184">^</a> Collins, N.(2003a), Generative Music and Laptop Performance, Contemporary Music Review: Vol. 22, Issue 4. London: Routledge: 67–79. </li> <li id="cite_note-185"><a href="#cite_ref-185">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20080501041708/http://www.wintermusicconference.com/events/idmas/winners2008.php">"23rd Annual International Dance Music Awards Nominees & Winners"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.wintermusicconference.com/events/idmas/winners2008.php">the original</a> on 1 May 2008. Retrieved 14 January 2009.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=23rd+Annual+International+Dance+Music+Awards+Nominees+%26+Winners&rft_id=http%3A%2F%2Fwww.wintermusicconference.com%2Fevents%2Fidmas%2Fwinners2008.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> Best Audio Editing Software of the Year – 1st Ableton Live, 4th Reason. Best Audio DJ Software of the Year – Ableton Live. </li> <li id="cite_note-186"><a href="#cite_ref-186">^</a> St. John, G.(ed.), FreeNRG: Notes From the Edge of the Dance Floor, Common Ground, Melbourne, 2001, (pp. 93–102). </li> <li id="cite_note-187"><a href="#cite_ref-187">^</a> Rietveld, H (1998), Repetitive Beats: Free Parties and the Politics of Contemporary DIY Dance Culture in Britain, in George McKay (ed.), DIY Culture: Party and Protest in Nineties Britain, pp.243–67. 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Retrieved 27 February 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Egg+London&rft.pub=djmag.com&rft.date=2017-12-20&rft.au=DJ+Mag&rft_id=https%3A%2F%2Fdjmag.com%2Ftop-100-clubs%2Fpoll-clubs-2017-egg-london&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> <li id="cite_note-196"><a href="#cite_ref-196">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGray2019" class="citation web cs1">Gray, Carmen (29 May 2019). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2019/05/29/arts/music/bassiani-tbilisi-georgia.html">"At This Techno Club, the Party Is Political"</a>. <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220325144240/https://www.nytimes.com/2019/05/29/arts/music/bassiani-tbilisi-georgia.html">Archived</a> from the original on 25 March 2022. Retrieved 28 February 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+York+Times&rft.atitle=At+This+Techno+Club%2C+the+Party+Is+Political&rft.date=2019-05-29&rft.aulast=Gray&rft.aufirst=Carmen&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2019%2F05%2F29%2Farts%2Fmusic%2Fbassiani-tbilisi-georgia.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATechno" class="Z3988"> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Bibliography">Bibliography</h2>[<a href="/w/index.php?title=Techno&action=edit&section=36" title="Edit section: Bibliography">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ul><li><cite id="refAnz1999">Anz, P. & Walder, P. (eds.), Techno, Hamburg: Rowohlt, 1999 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/3908010144" title="Special:BookSources/3908010144">3908010144</a>).</cite></li> <li><cite id="refBarr2000">Barr, T., Techno: The Rough Guide, Rough Guides, 2000 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1858284347" title="Special:BookSources/978-1858284347">978-1858284347</a>).</cite></li> <li><cite id="refBrewster2006">Brewster B. & Broughton F., Last Night a DJ Saved My Life: The History of the Disc Jockey, Avalon Travel Publishing, 2006, (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0802136886" title="Special:BookSources/978-0802136886">978-0802136886</a>).</cite></li> <li><cite id="refButler2006">Butler, M.J., Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Indiana University Press, 2006 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0253218049" title="Special:BookSources/978-0253218049">978-0253218049</a>).</cite></li> <li><cite id="refCannon2003">Cannon, S. & Dauncey, H., Popular Music in France from Chanson to Techno: Culture, Identity and Society, Ashgate, 2003 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0754608493" title="Special:BookSources/978-0754608493">978-0754608493</a>).</cite></li> <li><cite id="refCollin1998">Collin, M., Altered State: The Story of Ecstasy Culture and Acid House, Serpent's Tail, 1998 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1852426040" title="Special:BookSources/978-1852426040">978-1852426040</a>).</cite></li> <li><cite id="refCosgrove1988a">Cosgrove, S. (a), "Seventh City Techno", The Face (97), p.88, May 1988 (<a href="/wiki/International_Standard_Serial_Number" class="mw-redirect" title="International Standard Serial Number">ISSN</a> <a rel="nofollow" class="external text" href="http://worldcat.org/issn/0263-1210">0263-1210</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090210075544/http://www.worldcat.org/issn/0263-1210">Archived</a> 2009-02-10 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>).</cite></li> <li><cite id="refCosgrove1988b">Cosgrove, S. (b), <a rel="nofollow" class="external text" href="http://www.ele-mental.org/ele_ment/said&did/techno_liner_notes.html">Techno! The New Dance Sound of Detroit liner notes</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080504034752/http://www.ele-mental.org/ele_ment/said%26did/techno_liner_notes.html">Archived</a> 2008-05-04 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, 10 Records Ltd. (UK), 1988 (LP: DIXG 75; CD: DIXCD 75).</cite></li> <li><cite id="refCox2004">Cox, C.(Author), Warner D (Editor), Audio Culture: Readings in Modern Music, Continuum International Publishing Group Ltd., 2004 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0826416155" title="Special:BookSources/978-0826416155">978-0826416155</a>).</cite></li> <li><cite id="refFritz2000">Fritz, J., Rave Culture: An Insider's Overview, Smallfry Press, 2000 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0968572108" title="Special:BookSources/978-0968572108">978-0968572108</a>).</cite></li> <li><cite id="refKodwo1998">Kodwo, E., More Brilliant Than the Sun: Adventures in Sonic Fiction, Quartet Books, 1998 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0704380257" title="Special:BookSources/978-0704380257">978-0704380257</a>).</cite></li> <li><cite id="refNelson2001">Nelson, A., Tu, L.T.N., Headlam Hines, A. (eds.), TechniColor: Race, Technology and Everyday Life, New York University Press, 2001 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0814736043" title="Special:BookSources/978-0814736043">978-0814736043</a>).</cite></li> <li>Nye, S <a rel="nofollow" class="external text" href="https://www.academia.edu/3813069/Minimal_Understandings_The_Berlin_Decade_The_Minimal_Continuum_and_Debates_on_the_Legacy_of_German_Techno">"Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno,"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150101013427/http://www.academia.edu/3813069/Minimal_Understandings_The_Berlin_Decade_The_Minimal_Continuum_and_Debates_on_the_Legacy_of_German_Techno">Archived</a> 2015-01-01 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> in Journal of Popular Music Studies 25, no. 2(2013): 154–84.</li> <li><cite id="refPesch1998">Pesch, M. (Author), Weisbeck, M. (Editor), Techno Style: The Album Cover Art, Edition Olms; 5Rev Ed edition, 1998 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3283002909" title="Special:BookSources/978-3283002909">978-3283002909</a>).</cite></li> <li><cite id="refRietveld1998">Rietveld, H.C., This is Our House: House Music, Cultural Spaces and Technologies, Ashgate Publishing, Aldershot, 1998 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1857422429" title="Special:BookSources/978-1857422429">978-1857422429</a>).</cite></li> <li><cite id="refReynolds1998">Reynolds, S., Energy Flash: a Journey Through Rave Music and Dance Culture, Pan Macmillan, 1998 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0330350563" title="Special:BookSources/978-0330350563">978-0330350563</a>).</cite></li> <li><cite id="refReynolds1999">Reynolds, S., Generation Ecstasy: Into the World of Techno and Rave Culture, Routledge, New York 1999 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0415923736" title="Special:BookSources/978-0415923736">978-0415923736</a>); Soft Skull Press, 2012 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1593764074" title="Special:BookSources/978-1593764074">978-1593764074</a>).</cite><a href="#cite_note-197">[a]</a></li> <li><cite id="refReynolds2013">Reynolds, S., Energy Flash: a Journey Through Rave Music and Dance Culture, Faber and Faber, 2013 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0571289134" title="Special:BookSources/978-0571289134">978-0571289134</a>).</cite><a href="#cite_note-198">[b]</a></li> <li><cite id="refSavage1992">Savage, J., The Hacienda Must Be Built, International Music Publications, 1992 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0863598579" title="Special:BookSources/978-0863598579">978-0863598579</a>).</cite></li> <li><cite id="refSicko1999">Sicko, D., Techno Rebels: The Renegades of Electronic Funk, Billboard Books, 1999 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0823084289" title="Special:BookSources/978-0823084289">978-0823084289</a>).</cite></li> <li><cite id="refSicko2010">Sicko, D., Techno Rebels: The Renegades of Electronic Funk, 2nd ed., Wayne State University Press, 2010 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0814334386" title="Special:BookSources/978-0814334386">978-0814334386</a>).</cite></li> <li><cite id="refStJohn2003">St. John, G.(ed.). <a rel="nofollow" class="external text" href="http://www.edgecentral.net/rcr.htm">Rave Culture and Religion</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181219211449/http://www.edgecentral.net/rcr.htm">Archived</a> 2018-12-19 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, New York: Routledge, 2004. (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0415314497" title="Special:BookSources/978-0415314497">978-0415314497</a>).</cite></li> <li><cite id="refStJohn2001">St. John, G.(ed.), <a rel="nofollow" class="external text" href="http://undergrowth.org/freenrg_notes_from_the_edge_of_the_dancefloor">FreeNRG: Notes From the Edge of the Dance Floor</a>, Common Ground, Melbourne, 2001 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1863350846" title="Special:BookSources/978-1863350846">978-1863350846</a>).</cite></li> <li>St John, G. <a rel="nofollow" class="external text" href="http://www.edgecentral.net/technomad.htm">Technomad: Global Raving Countercultures</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20181219211121/http://www.edgecentral.net/technomad.htm">Archived</a> 2018-12-19 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. London: Equinox. 2009. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-84553-626-8" title="Special:BookSources/978-1-84553-626-8">978-1-84553-626-8</a>.</li> <li><cite id="refToop2001">Toop, D., Ocean of Sound, Serpent's Tail, 2001 [new edition] (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1852427436" title="Special:BookSources/978-1852427436">978-1852427436</a>).</cite></li> <li><cite id="refWatten2003">Watten, B., The Constructivist Moment: From Material Text to Cultural Poetics, Wesleyan University Press, 2003 (<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0819566102" title="Special:BookSources/978-0819566102">978-0819566102</a>).</cite></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Filmography">Filmography</h2>[<a href="/w/index.php?title=Techno&action=edit&section=37" title="Edit section: Filmography">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239549316" /><div class="refbegin" style=""> <ul><li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=VzTi_H1uSKs">High Tech Soul</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131208021530/http://www.youtube.com/watch?v=VzTi_H1uSKs">Archived</a> 2013-12-08 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> – Catalog No.: PLX-029; Label: Plexifilm; Released: 19 September 2006; Director: Gary Bredow; Length: 64 minutes.</li> <li><a rel="nofollow" class="external text" href="http://www.paris-berlin-20years.com/">Paris/Berlin: 20 Years Of Underground Techno</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160623220920/http://www.paris-berlin-20years.com/">Archived</a> 2016-06-23 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> – Label: Les Films du Garage; Released: 2012; Director: Amélie Ravalec; Length: 52 minutes.</li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=9LbtkJ2UZ6E">We Call It Techno!</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150125185158/https://www.youtube.com/watch?v=9LbtkJ2UZ6E">Archived</a> 2015-01-25 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> – A documentary about Germany's early Techno scene and culture – Label: Sense Music & Media, Berlin, DE; Released: June 2008; Directors: Maren Sextro & Holger Wick.</li> <li>Tresor Berlin: The Vault and the Electronic Frontier – Label: Pyramids of London Films; Released 2004; Director: Michael Andrawis; Length: 62 minutes</li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=s-2cD_mim-k">Technomania</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160128233752/https://www.youtube.com/watch?v=s-2cD_mim-k">Archived</a> 2016-01-28 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> – Released: 1996 (screened at <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080505033528/http://findarticles.com/p/articles/mi_m1248/is_n10_v84/ai_18749030/pg_6">NowHere</a>, an exhibition held at Louisiana Museum of Modern Art, Denmark, between 15 May and 8 September 1996); Director: Franz A. Pandal; Length: 52 minutes.</li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=RSX_r0u3uzE">Universal Techno</a> on <a href="/wiki/YouTube_video_(identifier)" class="mw-redirect" title="YouTube video (identifier)">YouTube</a> – Label: Les Films à Lou; Released: 1996; Director: Dominique Deluze; Length: 63 minutes.</li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=Techno&action=edit&section=38" title="Edit section: Notes">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626" /><div class="reflist reflist-lower-alpha"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-197"><a href="#cite_ref-197">^</a> Generation Ecstasy is based on Energy Flash, but is a unique edition significantly rewritten for the North American market. Its copyright date is 1998, but it was first published July 1999. </li> <li id="cite_note-198"><a href="#cite_ref-198">^</a> This 2013 edition is expanded to include coverage of dubstep and the <a href="/wiki/Electronic_dance_music" title="Electronic dance music">EDM</a> boom in North America. </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Techno&action=edit&section=39" title="Edit section: External links">edit</a>]</div> <ul><li><a rel="nofollow" class="external text" href="https://www.techno-livesets.com/">Techno Live Sets</a> – The #1 resource for Techno sets</li> <li><a rel="nofollow" class="external text" href="http://pitchfork.com/features/articles/6204-from-the-autobahn-to-i-94/">"From the Autobahn to I-94: The Origins of Detroit Techno and Chicago House"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160128233752/http://pitchfork.com/features/articles/6204-from-the-autobahn-to-i-94/">Archived</a> 2016-01-28 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> – reminiscences in 2005 by techno and house innovators</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20150731224521/http://www2.abc.net.au/arts/soundsliketechno/">Sounds Like Techno</a> – online historical documentary produced by the Australian Broadcasting Corporation (ABC)</li> <li><a rel="nofollow" class="external text" href="http://beatsmine.com/oldie-but-goldie/">Techno from past years</a> – Oldie but goldie classic techno sets</li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output .navbox-list-with-group{text-align:left;border-left-width:2px;border-left-style:solid}.mw-parser-output tr+tr>.navbox-abovebelow,.mw-parser-output tr+tr>.navbox-group,.mw-parser-output tr+tr>.navbox-image,.mw-parser-output tr+tr>.navbox-list{border-top:2px solid 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.navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Techno" title="Template:Techno"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Techno" title="Template talk:Techno"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Techno" title="Special:EditPage/Template:Techno"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Techno26" style="font-size:114%;margin:0 4em"><a class="mw-selflink selflink">Techno</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Subgenres</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acid_techno" title="Acid techno">Acid techno</a></li> <li><a href="/wiki/Ambient_techno" title="Ambient techno">Ambient techno</a></li> <li><a href="/wiki/Birmingham_sound" title="Birmingham sound">Birmingham sound</a></li> <li><a href="/wiki/Bleep_techno" title="Bleep techno">Bleep techno</a></li> <li><a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a></li> <li><a href="/wiki/Dub_techno" title="Dub techno">Dub techno</a></li> <li><a href="/wiki/Hardtechno" class="mw-redirect" title="Hardtechno">Hardtechno</a> <ul><li><a href="/wiki/Free_tekno" title="Free tekno">Free tekno</a></li></ul></li> <li><a href="/wiki/Industrial_techno" title="Industrial techno">Industrial techno</a></li> <li><a href="/wiki/Minimal_techno" title="Minimal techno">Minimal techno</a></li> <li><a href="/wiki/Schaffel" title="Schaffel">Schaffel</a></li> <li><a href="/wiki/Tech_house" title="Tech house">Tech house</a></li> <li><a href="/wiki/Tech_trance" title="Tech trance">Tech trance</a></li> <li><a href="/wiki/Toytown_techno" title="Toytown techno">Toytown techno</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ghettotech" title="Ghettotech">Ghettotech</a></li> <li><a href="/wiki/Hard_trance" title="Hard trance">Hard trance</a></li> <li><a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">Hardcore</a> <ul><li><a href="/wiki/Bouncy_techno" title="Bouncy techno">Bouncy techno</a></li> <li><a href="/wiki/Gabber" title="Gabber">Gabber</a></li></ul></li> <li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">IDM</a></li> <li><a href="/wiki/Microhouse" title="Microhouse">Microhouse</a></li> <li><a href="/wiki/Nortec" title="Nortec">Nortec</a></li> <li><a href="/wiki/Power_noise" title="Power noise">Power noise</a></li> <li><a href="/wiki/Techstep" title="Techstep">Techstep</a></li> <li><a href="/wiki/Tecno_brega" title="Tecno brega">Tecno brega</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Electronic-based_music_styles224" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Electronica" title="Template:Electronica"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Electronica" title="Template talk:Electronica"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Electronica" title="Special:EditPage/Template:Electronica"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Electronic-based_music_styles224" style="font-size:114%;margin:0 4em"><a href="/wiki/Electronic_music" title="Electronic music">Electronic</a>-based music styles</div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/Electronic_dance_music" title="Electronic dance music">Electronic dance music</a> · <a href="/wiki/Electronica" title="Electronica">Electronica</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/List_of_electronic_music_genres" title="List of electronic music genres">Genres</a> by <a href="/wiki/Timeline_of_electronic_music_genres" title="Timeline of electronic music genres">decade of origin</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Early</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Guitar_amplifier" title="Guitar amplifier">Amplified guitar</a> <ul><li><a href="/wiki/Electric_blues" title="Electric blues">Electric blues</a></li> <li><a href="/wiki/Music_of_Hawaii#Guitar_innovations" title="Music of Hawaii">Hawaiian guitar</a></li> <li><a href="/wiki/J%C3%B9j%C3%BA_music" title="Jùjú music">Jùjú</a></li> <li><a href="/wiki/Rock_music" title="Rock music">Rock</a> <ul><li><a href="/wiki/List_of_rock_genres" title="List of rock genres">List of rock genres</a></li></ul></li> <li><a href="/wiki/Western_swing" title="Western swing">Western swing</a></li></ul></li> <li><a href="/wiki/Biomusic" title="Biomusic">Biomusic</a></li> <li><a href="/wiki/Computer_music" title="Computer music">Computer music</a></li> <li><a href="/wiki/Electroacoustic_music" title="Electroacoustic music">Electroacoustic music</a> <ul><li><a href="/wiki/Acousmatic_music" title="Acousmatic music">Acousmatic music</a></li> <li><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">Musique concrète</a></li> <li><a href="/wiki/Tape_music" class="mw-redirect" title="Tape music">Tape music</a></li></ul></li> <li><a href="/wiki/Elektronische_Musik" class="mw-redirect" title="Elektronische Musik">Elektronische Musik</a></li> <li><a href="/wiki/Live_electronic_music" title="Live electronic music">Live electronics</a></li> <li><a href="/wiki/Noise_music" title="Noise music">Noise</a></li> <li><a href="/wiki/Sound_system_(Jamaican)" title="Sound system (Jamaican)">Sound system (Jamaican)</a></li> <li><a href="/wiki/Space_age_pop" title="Space age pop">Space age pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1960s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_music" title="Ambient music">Ambient</a></li> <li><a href="/wiki/Drone_music" title="Drone music">Drone</a></li> <li><a href="/wiki/Dub_music" title="Dub music">Dub</a></li> <li><a href="/wiki/Electronic_rock" title="Electronic rock">Electronic rock</a></li> <li><a href="/wiki/Jazz-funk" title="Jazz-funk">Jazz-funk</a></li> <li><a href="/wiki/Krautrock" title="Krautrock">Krautrock</a></li> <li><a href="/wiki/New-age_music" title="New-age music">New-age music</a></li> <li><a href="/wiki/Progressive_rock" title="Progressive rock">Progressive rock</a></li> <li><a href="/wiki/Psychedelic_music" title="Psychedelic music">Psychedelic music</a> <ul><li><a href="/wiki/Psychedelic_funk" title="Psychedelic funk">Psychedelic funk</a></li> <li><a href="/wiki/Psychedelic_rock" title="Psychedelic rock">Psychedelic rock</a></li> <li><a href="/wiki/Sampledelia" title="Sampledelia">Sampledelia</a></li></ul></li> <li><a href="/wiki/Space_music" title="Space music">Space music</a> <ul><li><a href="/wiki/Space_rock" title="Space rock">Space rock</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1970s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afro/cosmic_music" title="Afro/cosmic music">Afro/cosmic music</a> <ul><li><a href="/wiki/Space_disco" class="mw-redirect" title="Space disco">Space disco</a></li></ul></li> <li><a href="/wiki/Boogie_(genre)" title="Boogie (genre)">Boogie</a></li> <li><a href="/wiki/Chiptune" title="Chiptune">Chiptune</a></li> <li><a href="/wiki/Dancehall" title="Dancehall">Dancehall</a></li> <li><a href="/wiki/Electropunk" class="mw-redirect" title="Electropunk">Electropunk</a></li> <li><a href="/wiki/Eurodisco" title="Eurodisco">Eurodisco</a></li> <li><a href="/wiki/Hi-NRG" title="Hi-NRG">Hi-NRG</a></li> <li><a href="/wiki/Industrial_music" title="Industrial music">Industrial</a> <ul><li><a href="/wiki/Industrial_rock" title="Industrial rock">Industrial rock</a></li></ul></li> <li><a href="/wiki/Japanoise" title="Japanoise">Japanoise</a></li> <li><a href="/wiki/New_wave_music" title="New wave music">New wave</a> <ul><li><a href="/wiki/Cold_wave_(music)" title="Cold wave (music)">Cold wave</a></li> <li><a href="/wiki/Dark_wave" title="Dark wave">Dark wave</a></li> <li><a href="/wiki/Minimal_wave" title="Minimal wave">Minimal wave</a></li></ul></li> <li><a href="/wiki/Post-disco" title="Post-disco">Post-disco</a> <ul><li><a href="/wiki/Dance-punk" title="Dance-punk">Dance-punk</a></li> <li><a href="/wiki/Dance-rock" title="Dance-rock">Dance-rock</a></li> <li><a href="/wiki/Italo_disco" title="Italo disco">Italo disco</a></li></ul></li> <li><a href="/wiki/Reggae_fusion" title="Reggae fusion">Reggae fusion</a></li> <li><a href="/wiki/Synth-pop" title="Synth-pop">Synth-pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1980s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a></li> <li><a href="/wiki/Alternative_dance" title="Alternative dance">Alternative dance</a> <ul><li><a href="/wiki/Baggy" title="Baggy">Baggy</a></li></ul></li> <li><a href="/wiki/Ambient_pop" class="mw-redirect" title="Ambient pop">Ambient pop</a></li> <li><a href="/wiki/Breakbeat" title="Breakbeat">Breakbeat</a> <ul><li><a href="/wiki/Florida_breaks" title="Florida breaks">Florida breaks</a></li></ul></li> <li><a href="/wiki/Contemporary_R%26B" title="Contemporary R&B">Contemporary R&B</a> <ul><li><a href="/wiki/New_jack_swing" title="New jack swing">New jack swing</a></li></ul></li> <li><a href="/wiki/Dark_ambient" title="Dark ambient">Dark ambient</a></li> <li><a href="/wiki/Dubtronica" title="Dubtronica">Dubtronica</a></li> <li><a href="/wiki/Electro_(music)" title="Electro (music)">Electro</a> <ul><li><a href="/wiki/Freestyle_music" title="Freestyle music">Freestyle</a></li></ul></li> <li><a href="/wiki/Electro-industrial" title="Electro-industrial">Electro-industrial</a> <ul><li><a href="/wiki/Electronic_body_music" title="Electronic body music">Electronic body music</a></li></ul></li> <li><a href="/wiki/Electropop" title="Electropop">Electropop</a></li> <li><a href="/wiki/Ethnic_electronica" title="Ethnic electronica">Ethnic electronica</a> <ul><li><a href="/wiki/Funk_carioca" title="Funk carioca">Funk carioca</a></li> <li><a href="/wiki/Kuduro" title="Kuduro">Kuduro</a></li> <li><a href="/wiki/Kwaito" title="Kwaito">Kwaito</a></li> <li><a href="/wiki/Tecnocumbia" title="Tecnocumbia">Tecnocumbia</a></li> <li><a href="/wiki/Turbo-folk" title="Turbo-folk">Turbo-folk</a></li></ul></li> <li><a href="/wiki/Eurobeat" title="Eurobeat">Eurobeat</a></li> <li><a href="/wiki/Eurodance" title="Eurodance">Eurodance</a></li> <li><a href="/wiki/Grebo_(music)" title="Grebo (music)">Grebo</a></li> <li><a href="/wiki/House_music" title="House music">House</a> <ul><li><a href="/wiki/Acid_house" title="Acid house">Acid</a></li> <li><a href="/wiki/Ambient_house" title="Ambient house">Ambient</a></li> <li><a href="/wiki/Balearic_beat" title="Balearic beat">Balearic beat</a></li> <li><a href="/wiki/Chicago_house" title="Chicago house">Chicago</a></li> <li><a href="/wiki/Deep_house" title="Deep house">Deep</a></li> <li><a href="/wiki/Garage_house" title="Garage house">Garage</a></li> <li><a href="/wiki/Funky_house" title="Funky house">Funky</a></li> <li><a href="/wiki/Italo_house" title="Italo house">Italo</a></li> <li><a href="/wiki/New_Jersey_sound" title="New Jersey sound">Jersey sound</a></li> <li><a href="/wiki/Hip_house" title="Hip house">Hip house</a></li> <li><a href="/wiki/Latin_house" title="Latin house">Latin</a></li> <li><a href="/wiki/Tech_house" title="Tech house">Tech</a></li> <li><a href="/wiki/Tribal_house" title="Tribal house">Tribal</a></li></ul></li> <li><a href="/wiki/Industrial_hip_hop" class="mw-redirect" title="Industrial hip hop">Industrial hip hop</a></li> <li><a href="/wiki/Industrial_metal" title="Industrial metal">Industrial metal</a></li> <li><a href="/wiki/Martial_industrial" title="Martial industrial">Martial industrial</a></li> <li><a href="/wiki/Miami_bass" title="Miami bass">Miami bass</a></li> <li><a href="/wiki/New_beat" title="New beat">New beat</a></li> <li><a href="/wiki/Power_electronics_(music)" class="mw-redirect" title="Power electronics (music)">Power electronics</a></li> <li><a href="/wiki/Ragga" title="Ragga">Ragga</a></li> <li><a href="/wiki/Sophisti-pop" title="Sophisti-pop">Sophisti-pop</a></li> <li><a href="/wiki/Synth-metal" class="mw-redirect" title="Synth-metal">Synth-metal</a></li> <li><a class="mw-selflink selflink">Techno</a> <ul><li><a href="/wiki/Acid_techno" title="Acid techno">Acid techno</a></li> <li><a href="/wiki/Bleep_techno" title="Bleep techno">Bleep techno</a></li> <li><a href="/wiki/Detroit_techno" title="Detroit techno">Detroit techno</a></li></ul></li> <li><a href="/wiki/Tracker_music" class="mw-redirect" title="Tracker music">Tracker music</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">1990s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ambient_dub" class="mw-redirect" title="Ambient dub">Ambient dub</a></li> <li><a href="/wiki/Ambient_techno" title="Ambient techno">Ambient techno</a></li> <li><a href="/wiki/Asian_underground" class="mw-redirect" title="Asian underground">Asian underground</a></li> <li><a href="/wiki/Baltimore_club" title="Baltimore club">Baltimore club</a></li> <li><a href="/wiki/Bhangragga" class="mw-redirect" title="Bhangragga">Bhangragga</a></li> <li><a href="/wiki/Big_beat" title="Big beat">Big beat</a></li> <li><a href="/wiki/Bitpop" title="Bitpop">Bitpop</a></li> <li><a href="/wiki/Breakbeat_hardcore" title="Breakbeat hardcore">Breakbeat hardcore</a> <ul><li><a href="/wiki/Darkcore" title="Darkcore">Darkcore</a></li> <li><a href="/wiki/Happy_hardcore" title="Happy hardcore">Happy hardcore</a></li> <li><a href="/wiki/Toytown_techno" title="Toytown techno">Toytown techno</a></li></ul></li> <li><a href="/wiki/Broken_beat" title="Broken beat">Broken beat</a></li> <li><a href="/wiki/Changa_tuki" class="mw-redirect" title="Changa tuki">Changa tuki</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Dark_electro" class="mw-redirect" title="Dark electro">Dark electro</a></li> <li><a href="/wiki/Denpa_song" title="Denpa song">Denpa song</a></li> <li><a href="/wiki/Digital_hardcore" title="Digital hardcore">Digital hardcore</a></li> <li><a href="/wiki/Disco_polo" title="Disco polo">Disco polo</a></li> <li><a href="/wiki/Diva_house" title="Diva house">Diva house</a> <ul><li><a href="/wiki/Hardbag" title="Hardbag">Hardbag</a></li></ul></li> <li><a href="/wiki/Downtempo" title="Downtempo">Downtempo</a> <ul><li><a href="/wiki/Bristol_sound" class="mw-redirect" title="Bristol sound">Bristol sound</a></li> <li><a href="/wiki/Psybient" class="mw-redirect" title="Psybient">Psybient</a></li> <li><a href="/wiki/Trip_hop" title="Trip hop">Trip hop</a></li></ul></li> <li><a href="/wiki/Drum_and_bass" title="Drum and bass">Drum and bass</a> <ul><li>Heavy <ul><li><a href="/wiki/Darkstep" class="mw-redirect" title="Darkstep">Darkstep</a></li> <li><a href="/wiki/Hardstep" title="Hardstep">Hardstep</a></li> <li><a href="/wiki/Neurofunk" title="Neurofunk">Neurofunk</a></li> <li><a href="/wiki/Techstep" title="Techstep">Techstep</a></li></ul></li> <li><a href="/wiki/Jungle_music" title="Jungle music">Jungle</a> <ul><li><a href="/wiki/Ragga_jungle" class="mw-redirect" title="Ragga jungle">Ragga jungle</a></li></ul></li> <li>Light <ul><li><a href="/wiki/Atmospheric_drum_and_bass" class="mw-redirect" title="Atmospheric drum and bass">Atmospheric</a></li> <li><a href="/wiki/Intelligent_drum_and_bass" class="mw-redirect" title="Intelligent drum and bass">Intelligent</a></li> <li><a href="/wiki/Jazzstep" class="mw-redirect" title="Jazzstep">Jazzstep</a></li> <li><a href="/wiki/Liquid_funk" title="Liquid funk">Liquid funk</a></li></ul></li></ul></li> <li><a href="/wiki/Dub_techno" title="Dub techno">Dub techno</a></li> <li><a href="/wiki/Dungeon_synth" title="Dungeon synth">Dungeon synth</a></li> <li><a href="/wiki/Electroclash" title="Electroclash">Electroclash</a></li> <li><a href="/wiki/Folktronica" title="Folktronica">Folktronica</a></li> <li><a href="/wiki/French_house" title="French house">French house</a> <ul><li><a href="/wiki/Nu_disco" class="mw-redirect" title="Nu disco">Nu disco</a></li></ul></li> <li><a href="/wiki/Funkot" title="Funkot">Funkot</a></li> <li><a href="/wiki/Futurepop" title="Futurepop">Futurepop</a></li> <li><a href="/wiki/Ghetto_house" title="Ghetto house">Ghetto house</a> <ul><li><a href="/wiki/Footwork_(genre)" title="Footwork (genre)">Footwork</a></li> <li><a href="/wiki/Ghettotech" title="Ghettotech">Ghettotech</a></li></ul></li> <li><a href="/wiki/Glitch_(music)" title="Glitch (music)">Glitch</a></li> <li><a href="/wiki/Hardcore_(electronic_dance_music_genre)" title="Hardcore (electronic dance music genre)">Hardcore</a> <ul><li><a href="/wiki/Belgian_hardcore_techno" title="Belgian hardcore techno">Belgian techno</a></li> <li><a href="/wiki/Bouncy_techno" title="Bouncy techno">Bouncy techno</a></li> <li><a href="/wiki/Breakcore" title="Breakcore">Breakcore</a></li> <li><a href="/wiki/Free_tekno_(music)" class="mw-redirect" title="Free tekno (music)">Free tekno</a></li> <li><a href="/wiki/Frenchcore" title="Frenchcore">Frenchcore</a></li> <li><a href="/wiki/Gabber" title="Gabber">Gabber</a></li> <li><a href="/wiki/Hardstyle" title="Hardstyle">Hardstyle</a> <ul><li><a href="/wiki/Lento_violento" title="Lento violento">Lento violento</a></li></ul></li> <li><a href="/wiki/J-core" title="J-core">J-core</a></li> <li><a href="/wiki/M%C3%A1kina" title="Mákina">Mákina</a></li> <li><a href="/wiki/Speedcore" title="Speedcore">Speedcore</a></li></ul></li> <li><a href="/wiki/Harsh_noise_wall" title="Harsh noise wall">Harsh noise wall</a></li> <li><a href="/wiki/Illbient" title="Illbient">Illbient</a></li> <li><a href="/wiki/Indietronica" class="mw-redirect" title="Indietronica">Indietronica</a></li> <li><a href="/wiki/Industrial_techno" title="Industrial techno">Industrial techno</a></li> <li><a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">Intelligent dance music</a> <ul><li><a href="/wiki/Drill_%27n%27_bass" title="Drill 'n' bass">Drill 'n' bass</a></li></ul></li> <li><a href="/wiki/Kidandali" title="Kidandali">Kidandali</a></li> <li><a href="/wiki/Jam_band#1996–2008:_rise_of_Phish_and_music_festivals" title="Jam band">Livetronica</a></li> <li><a href="/wiki/Merenhouse" title="Merenhouse">Merenhouse</a></li> <li><a href="/wiki/Microhouse" title="Microhouse">Microhouse</a></li> <li><a href="/wiki/Minimal_techno" title="Minimal techno">Minimal techno</a> <ul><li><a href="/wiki/Schaffel" title="Schaffel">Schaffel</a></li></ul></li> <li><a href="/wiki/Nu_jazz" title="Nu jazz">Nu jazz</a> <ul><li><a href="/wiki/Electro_swing" title="Electro swing">Electro swing</a></li></ul></li> <li><a href="/wiki/Nu_metal" title="Nu metal">Nu metal</a></li> <li><a href="/wiki/Nu_skool_breaks" title="Nu skool breaks">Nu skool breaks</a></li> <li><a href="/wiki/Post-rock" title="Post-rock">Post-rock</a></li> <li><a href="/wiki/Power_noise" title="Power noise">Power noise</a></li> <li><a href="/wiki/Progressive_house" title="Progressive house">Progressive house</a></li> <li><a href="/wiki/Psydub" title="Psydub">Psydub</a></li> <li><a href="/wiki/Reggaeton" title="Reggaeton">Reggaeton</a> <ul><li><a href="/wiki/Dembow" class="mw-redirect" title="Dembow">Dembow</a></li></ul></li> <li><a href="/wiki/Trance_music" title="Trance music">Trance</a> <ul><li><a href="/wiki/Acid_trance" title="Acid trance">Acid</a></li> <li><a href="/wiki/Balearic_trance" title="Balearic trance">Balearic</a></li> <li><a href="/wiki/Dream_trance" title="Dream trance">Dream</a></li> <li><a href="/wiki/Goa_trance" title="Goa trance">Goa</a></li> <li><a href="/wiki/Eurodance#Hands_Up" title="Eurodance">Hands Up</a></li> <li><a href="/wiki/Hard_trance" title="Hard trance">Hard</a></li> <li><a href="/wiki/Progressive_trance" class="mw-redirect" title="Progressive trance">Progressive</a></li> <li><a href="/wiki/Psychedelic_trance" title="Psychedelic trance">Psy</a></li> <li><a href="/wiki/Tech_trance" title="Tech trance">Tech</a></li> <li><a href="/wiki/Uplifting_trance" title="Uplifting trance">Uplifting</a></li> <li><a href="/wiki/Vocal_trance" class="mw-redirect" title="Vocal trance">Vocal</a></li></ul></li> <li><a href="/wiki/UK_garage" title="UK garage">UK garage</a> <ul><li><a href="/wiki/2-step_garage" title="2-step garage">2-step</a></li> <li><a href="/wiki/Breakstep" title="Breakstep">Breakstep</a></li> <li><a href="/wiki/Speed_garage" title="Speed garage">Speed garage</a></li></ul></li> <li><a href="/wiki/UK_hard_house" title="UK hard house">UK hard house</a> <ul><li><a href="/wiki/Hardbass" title="Hardbass">Hardbass</a></li> <li><a href="/wiki/Hard_NRG" title="Hard NRG">Hard NRG</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2000s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afrobeats" title="Afrobeats">Afrobeats</a></li> <li><a href="/wiki/Bassline_(music_genre)" title="Bassline (music genre)">Bassline</a></li> <li><a href="/wiki/Budots" title="Budots">Budots</a></li> <li><a href="/wiki/Christian_electronic_dance_music" title="Christian electronic dance music">Christian electronic dance music</a></li> <li><a href="/wiki/Cloud_rap" title="Cloud rap">Cloud rap</a></li> <li><a href="/wiki/Coup%C3%A9-d%C3%A9cal%C3%A9" title="Coupé-décalé">Coupé-décalé</a></li> <li><a href="/wiki/Crunk" title="Crunk">Crunk</a> <ul><li><a href="/wiki/Crunkcore" title="Crunkcore">Crunkcore</a></li></ul></li> <li><a href="/wiki/Dancehall_pop" title="Dancehall pop">Dancehall pop</a></li> <li><a href="/wiki/Dubstep" title="Dubstep">Dubstep</a> <ul><li><a href="/wiki/Reggaestep" title="Reggaestep">Reggaestep</a></li></ul></li> <li><a href="/wiki/Electro_house" title="Electro house">Electro house</a> <ul><li><a href="/wiki/Complextro" class="mw-redirect" title="Complextro">Complextro</a></li> <li><a href="/wiki/Dutch_house" class="mw-redirect" title="Dutch house">Dutch house</a></li> <li><a href="/wiki/Fidget_house" class="mw-redirect" title="Fidget house">Fidget house</a></li></ul></li> <li><a href="/wiki/Electronicore" title="Electronicore">Electronicore</a></li> <li><a href="/wiki/Future_garage" title="Future garage">Future garage</a></li> <li><a href="/wiki/Grime_(music_genre)" class="mw-redirect" title="Grime (music genre)">Grime</a> <ul><li><a href="/wiki/Grindie" title="Grindie">Grindie</a></li></ul></li> <li><a href="/wiki/Hauntology_(music)" title="Hauntology (music)">Hauntology</a></li> <li><a href="/wiki/Hypnagogic_pop" title="Hypnagogic pop">Hypnagogic pop</a> <ul><li><a href="/wiki/Chillwave" title="Chillwave">Chillwave</a></li> <li><a href="/wiki/Glo-fi" class="mw-redirect" title="Glo-fi">Glo-fi</a></li></ul></li> <li><a href="/wiki/Jersey_club" title="Jersey club">Jersey club</a></li> <li><a href="/wiki/Juke_house" class="mw-redirect" title="Juke house">Juke house</a></li> <li><a href="/wiki/Jumpstyle" title="Jumpstyle">Jumpstyle</a></li> <li><a href="/wiki/Mainstream_hardcore" title="Mainstream hardcore">Mainstream hardcore</a></li> <li><a href="/wiki/Nightcore" title="Nightcore">Nightcore</a></li> <li><a href="/wiki/Nintendocore" title="Nintendocore">Nintendocore</a></li> <li><a href="/wiki/Nortec" title="Nortec">Nortec</a></li> <li><a href="/wiki/Phonk" title="Phonk">Phonk</a></li> <li><a href="/wiki/Post-punk_revival" title="Post-punk revival">Post-punk revival</a> <ul><li><a href="/wiki/New_rave" title="New rave">New rave</a></li></ul></li> <li><a href="/wiki/Rab%C3%B2day" title="Rabòday">Rabòday</a></li> <li><a href="/wiki/Reductionism_(music)" title="Reductionism (music)">Reductionism</a> <ul><li><a href="/wiki/Lowercase_(music)" title="Lowercase (music)">Lowercase</a></li> <li><a href="/wiki/Onkyokei" title="Onkyokei">Onkyokei</a></li></ul></li> <li><a href="/wiki/Russ_music" title="Russ music">Russ music</a></li> <li><a href="/wiki/Sambass" title="Sambass">Sambass</a></li> <li><a href="/wiki/Shangaan_electro" title="Shangaan electro">Shangaan electro</a></li> <li><a href="/wiki/Skweee" title="Skweee">Skweee</a></li> <li><a href="/wiki/Synthwave" title="Synthwave">Synthwave</a> <ul><li><a href="/wiki/Sovietwave" title="Sovietwave">Sovietwave</a></li></ul></li> <li><a href="/wiki/Tecno_brega" title="Tecno brega">Tecno brega</a></li> <li><a href="/wiki/Trival" class="mw-redirect" title="Trival">Trival</a></li> <li><a href="/wiki/UK_bass" title="UK bass">UK bass</a></li> <li><a href="/wiki/UK_funky" title="UK funky">UK funky</a> <ul><li><a href="/wiki/Funkstep" title="Funkstep">Funkstep</a></li></ul></li> <li><a href="/wiki/Vocaloid_music" class="mw-redirect" title="Vocaloid music">Vocaloid music</a></li> <li><a href="/wiki/Witch_house_(genre)" title="Witch house (genre)">Witch house</a></li> <li><a href="/wiki/Wonky_(genre)" title="Wonky (genre)">Wonky</a></li> <li><a href="/wiki/Wonky_pop" title="Wonky pop">Wonky pop</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2010s</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Afroswing" title="Afroswing">Afroswing</a></li> <li><a href="/wiki/Algorave" title="Algorave">Algorave</a></li> <li><a href="/wiki/Amapiano" title="Amapiano">Amapiano</a></li> <li><a href="/wiki/Azonto" title="Azonto">Azonto</a></li> <li><a href="/wiki/Big_room_house" title="Big room house">Big room house</a></li> <li><a href="/wiki/Black_MIDI" title="Black MIDI">Black MIDI</a></li> <li><a href="/wiki/Brazilian_bass" class="mw-redirect" title="Brazilian bass">Brazilian bass</a></li> <li><a href="/wiki/Bro-country" title="Bro-country">Bro-country</a></li> <li><a href="/wiki/Deconstructed_club" title="Deconstructed club">Deconstructed club</a></li> <li><a href="/wiki/Dreampunk" title="Dreampunk">Dreampunk</a></li> <li><a href="/wiki/Funktronica" class="mw-redirect" title="Funktronica">Funktronica</a></li> <li><a href="/wiki/Future_bass" title="Future bass">Future bass</a> <ul><li><a href="/wiki/Kawaii_future_bass" class="mw-redirect" title="Kawaii future bass">Kawaii future bass</a></li></ul></li> <li><a href="/wiki/Future_house" title="Future house">Future house</a></li> <li><a href="/wiki/Future_soul" title="Future soul">Future soul</a></li> <li><a href="/wiki/Hyperpop" title="Hyperpop">Hyperpop</a></li> <li><a href="/wiki/Gqom" title="Gqom">Gqom</a></li> <li><a href="/wiki/Jungle_terror" class="mw-redirect" title="Jungle terror">Jungle terror</a></li> <li><a href="/wiki/Lofi_hip_hop" class="mw-redirect" title="Lofi hip hop">Lofi hip hop</a></li> <li><a href="/wiki/Mahraganat" title="Mahraganat">Mahraganat</a></li> <li><a href="/wiki/Melbourne_bounce" class="mw-redirect" title="Melbourne bounce">Melbourne bounce</a></li> <li><a href="/wiki/Moombahton" title="Moombahton">Moombahton</a> <ul><li><a href="/wiki/Moombahcore" class="mw-redirect" title="Moombahcore">Moombahcore</a></li> <li><a href="/wiki/Moombahsoul" class="mw-redirect" title="Moombahsoul">Moombahsoul</a></li></ul></li> <li><a href="/wiki/Mumble_rap" title="Mumble rap">Mumble rap</a></li> <li><a href="/wiki/Outsider_house" title="Outsider house">Outsider house</a></li> <li><a href="/wiki/Plugg_(music)" class="mw-redirect" title="Plugg (music)">Plugg</a></li> <li><a href="/wiki/Post-dubstep" title="Post-dubstep">Post-dubstep</a> <ul><li><a href="/wiki/Brostep" title="Brostep">Brostep</a></li> <li><a href="/wiki/Riddim_(genre)" title="Riddim (genre)">Riddim</a></li></ul></li> <li><a href="/wiki/Rara_tech" title="Rara tech">Rara tech</a></li> <li><a href="/wiki/Seapunk" title="Seapunk">Seapunk</a></li> <li><a href="/wiki/Shamstep" title="Shamstep">Shamstep</a></li> <li><a href="/wiki/EDM_trap_music" title="EDM trap music">EDM trap</a></li> <li><a href="/wiki/Tropical_house" title="Tropical house">Tropical house</a></li> <li><a href="/wiki/Vaporwave" title="Vaporwave">Vaporwave</a> <ul><li><a href="/wiki/Hardvapour" title="Hardvapour">Hardvapour</a></li> <li><a href="/wiki/Mallsoft" title="Mallsoft">Mallsoft</a></li> <li><a href="/wiki/Chopped_%26_screwed#Slowed_and_reverb" class="mw-redirect" title="Chopped & screwed">Slowed and reverb</a></li></ul></li> <li><a href="/wiki/Wave_music" title="Wave music">Wave</a> <ul><li><a href="/wiki/Hardwave" class="mw-redirect" title="Hardwave">Hardwave</a></li></ul></li> <li><a href="/wiki/Weird_SoundCloud" title="Weird SoundCloud">Weird SoundCloud</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">2020s</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Drift_phonk" class="mw-redirect" title="Drift phonk">Drift phonk</a></li> <li><a href="/wiki/Hyperpop#Related_genres" title="Hyperpop">Hyperpop microgenres</a></li> <li><a href="/wiki/Plugg_(music)#Proliferation_of_micro-subgenres" class="mw-redirect" title="Plugg (music)">Plugg microgenres</a></li> <li><a href="/wiki/Rage_rap" class="mw-redirect" title="Rage rap">Rage</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other topics</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Culture</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Drop_(music)" title="Drop (music)">Beat drop</a></li> <li><a href="/wiki/Club_drug" title="Club drug">Club drug</a></li> <li><a href="/wiki/Disc_jockey" title="Disc jockey">Disc jockey</a> <ul><li><a href="/wiki/DJ_mix" title="DJ mix">DJ mix</a></li> <li><a href="/wiki/Sound_system_(DJ)" title="Sound system (DJ)">Sound system</a></li> <li><a href="/wiki/Turntablism" title="Turntablism">Turntablism</a></li></ul></li> <li><a href="/wiki/Mashup_(music)" title="Mashup (music)">Mashup</a></li> <li><a href="/wiki/Microgenre" title="Microgenre">Microgenre</a></li> <li><a href="/wiki/Nightclub" title="Nightclub">Nightclub</a></li> <li><a href="/wiki/Rave" title="Rave">Rave</a> <ul><li><a href="/wiki/Acid_house_party" title="Acid house party">Acid house party</a></li> <li><a href="/wiki/Circuit_party" title="Circuit party">Circuit party</a></li> <li><a href="/wiki/Doof" title="Doof">Doof</a></li> <li><a href="/wiki/List_of_electronic_dance_music_festivals" class="mw-redirect" title="List of electronic dance music festivals">EDM festival</a></li> <li><a href="/wiki/Free_party" title="Free party">Free party</a> <ul><li><a href="/wiki/Teknival" title="Teknival">Teknival</a></li></ul></li></ul></li> <li><a href="/wiki/Remix" title="Remix">Remix</a></li> <li><a href="/wiki/Sampling_(music)" title="Sampling (music)">Sampling</a> <ul><li><a href="/wiki/Plunderphonics" title="Plunderphonics">Plunderphonics</a></li> <li><a href="/wiki/Rare_groove" title="Rare groove">Rare groove</a></li> <li><a href="/wiki/Riddim" title="Riddim">Riddim</a></li></ul></li> <li><a href="/wiki/Street_dance" title="Street dance">Street dance</a> <ul><li><a href="/wiki/House_dance" title="House dance">House dance</a></li> <li><a href="/wiki/Rave_dance" class="mw-redirect" title="Rave dance">Rave dance</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Genres</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_music" title="Bass music">Bass music</a></li> <li><a href="/wiki/Celtic_fusion" title="Celtic fusion">Celtic fusion</a></li> <li><a href="/wiki/Chill-out_music" title="Chill-out music">Chill-out music</a> <ul><li><a href="/wiki/Lounge_music" title="Lounge music">Lounge music</a></li></ul></li> <li><a href="/wiki/Disco" title="Disco">Disco</a></li> <li><a href="/wiki/Doujin_music" title="Doujin music">Doujin music</a></li> <li><a href="/wiki/Lo-fi_music" title="Lo-fi music">Lo-fi music</a></li> <li><a href="/wiki/Madchester" title="Madchester">Madchester</a></li> <li><a href="/wiki/Progressive_electronica" class="mw-redirect" title="Progressive electronica">Progressive electronica</a></li> <li><a href="/wiki/Rave_music" class="mw-redirect" title="Rave music">Rave music</a></li> <li><a href="/wiki/Reggae" title="Reggae">Reggae</a></li> <li><a href="/wiki/Sound_collage" title="Sound collage">Sound collage</a></li> <li><a href="/wiki/Video_game_music" title="Video game music">Video game music</a> <ul><li><a href="/wiki/Adaptive_music" title="Adaptive music">Adaptive music</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Tools</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bass_(sound)#Music_shows_and_dances" title="Bass (sound)">Bass</a></li> <li><a href="/wiki/Data_sonification" title="Data sonification">Data sonification</a></li> <li><a href="/wiki/Digital_audio_workstation" title="Digital audio workstation">Digital audio workstation</a></li> <li><a href="/wiki/Drum_break" class="mw-redirect" title="Drum break">Drum break</a> <ul><li><a href="/wiki/Category:Sampled_drum_breaks" title="Category:Sampled drum breaks">List</a></li></ul></li> <li><a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">Electronic musical instrument</a> <ul><li><a href="/wiki/Drum_machine" title="Drum machine">Drum machine</a></li> <li><a href="/wiki/Sampler_(musical_instrument)" title="Sampler (musical instrument)">Sampler</a></li> <li><a href="/wiki/Synthesizer" title="Synthesizer">Synthesizer</a></li></ul></li> <li><a href="/wiki/Electronics_in_rock_music" title="Electronics in rock music">Electronics in rock music</a></li> <li><a href="/wiki/MIDI" title="MIDI">MIDI</a></li> <li><a href="/wiki/Music_technology_(electronic_and_digital)" title="Music technology (electronic and digital)">Music technology (electronic and digital)</a></li> <li><a href="/wiki/Recording_studio_as_an_instrument" title="Recording studio as an instrument">Recording studio as an instrument</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="23x15px&#124;border_&#124;alt=United_States&#124;link=United_States_Black_American_music_(timeline)220" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Black_music_history" title="Template:Black music history"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Black_music_history" title="Template talk:Black music history"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Black_music_history" title="Special:EditPage/Template:Black music history"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="23x15px&#124;border_&#124;alt=United_States&#124;link=United_States_Black_American_music_(timeline)220" style="font-size:114%;margin:0 4em"><a href="/wiki/United_States" title="United States"><img alt="United States" src="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/23px-Flag_of_the_United_States.svg.png" decoding="async" width="23" height="12" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/35px-Flag_of_the_United_States.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/46px-Flag_of_the_United_States.svg.png 2x" data-file-width="1235" data-file-height="650" /></a> <a href="/wiki/African-American_music" title="African-American music">Black American music</a> (timeline)</div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/American_folk_music" title="American folk music">American folk music</a> series</div></td></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">Early 20th century <ul><li><a href="/wiki/Call_and_response" title="Call and response">Call and response</a></li> <li><a href="/wiki/Field_holler" title="Field holler">Field holler</a></li> <li><a href="/wiki/Spirituals" title="Spirituals">Spirituals</a></li> <li><a href="/wiki/Gospel_music" title="Gospel music">Gospel</a></li> <li><a href="/wiki/Blues" title="Blues">Blues</a></li> <li><a href="/wiki/Boogie-woogie" title="Boogie-woogie">Boogie-woogie</a></li> <li><a href="/wiki/Ragtime" title="Ragtime">Ragtime</a></li> <li><a href="/wiki/Jazz" title="Jazz">Jazz</a></li> <li><a href="/wiki/Swing_music" title="Swing music">Swing</a></li></ul></div></td></tr><tr><td colspan="2" class="navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">1940s <li><a href="/wiki/Bebop" title="Bebop">Bebop</a></li> <li><a href="/wiki/Doo-wop" title="Doo-wop">Doo-wop</a></li> <li><a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">Rhythm and blues</a></li></div></td></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">1950s <li><a href="/wiki/Rock_and_roll" title="Rock and roll">Rock and roll</a></li> <li><a href="/wiki/Rock_music" title="Rock music">Rock</a></li> <li><a href="/wiki/Soul_music" title="Soul music">Soul</a></li></div></td></tr><tr><td colspan="2" class="navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">1960s <li><a href="/wiki/Motown#Motown_sound" title="Motown">Motown</a></li> <li><a href="/wiki/Funk" title="Funk">Funk</a></li> <li><a href="/wiki/Psychedelic_soul" title="Psychedelic soul">Psychedelic soul</a></li></div></td></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">1970s <li><a href="/wiki/Disco" title="Disco">Disco</a></li> <li><a href="/wiki/Go-go" title="Go-go">Go-go</a></li> <li><a href="/wiki/Hip-hop" title="Hip-hop">Hip-hop</a></li> <li><a href="/wiki/Garage_house" title="Garage house">Garage house</a></li> <li><a href="/wiki/Rapping" title="Rapping">Rapping</a></li></div></td></tr><tr><td colspan="2" class="navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">1980s <li><a href="/wiki/Electro_(music)" title="Electro (music)">Electro</a></li> <li><a href="/wiki/House_music" title="House music">House</a></li> <li><a class="mw-selflink selflink">Techno</a></li></div></td></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">1990s <li><a href="/wiki/New_jack_swing" title="New jack swing">New jack swing</a></li> <li><a href="/wiki/Chopped_and_screwed" title="Chopped and screwed">Chopped and screwed</a></li> <li><a href="/wiki/Neo_soul" title="Neo soul">Neo soul</a></li></div></td></tr><tr><td colspan="2" class="navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">2000s <li><a href="/wiki/Crunk" title="Crunk">Crunk</a></li> <li><a href="/wiki/Snap_music" title="Snap music">Snap music</a></li> <li><a href="/wiki/Hyphy" title="Hyphy">Hyphy</a></li></div></td></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">2010s <li><a href="/wiki/Trap_music" title="Trap music">Trap music</a></li> <li><a href="/wiki/Drill_music" title="Drill music">Drill music</a></li></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background-color: white;">Legacy</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><td colspan="2" class="navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <li><a href="/wiki/Contemporary_R%26B" title="Contemporary R&B">Contemporary R&B</a></li> <li><a href="/wiki/Urban_contemporary" class="mw-redirect" title="Urban contemporary">Urban (industry term)</a></li> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Elsewhere</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Chillwave" title="Chillwave">Chillwave</a></li> <li><a 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