Detroit Techno

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Detroit Techno is an early electronic music genre that originated in Detroit in the mid-1980s and early 1990s. The genre was pioneered by Juan Atkins (Model 500), Kevin Saunderson, and Derrick May, collectively known as the "Belleville Three," within the city's middle-class Black club scene. Thus, Detroit is regarded as the birthplace of techno.

Detroit Techno's distinctiveness, compared to its European counterparts, lies in its fusion of funk and futurism. Juan Atkins cites Parliament-Funkadelic as a key influence on this futuristic sound and aesthetic. Atkins's single No UFO's / Future is considered an important early release, exemplifying the sci-fi themes that became common in the genre. The 1988 compilation Techno! The New Dance Sound of Detroit solidified the term "techno" to distinguish this sound from the Chicago House sound. This compilation was crucial in bringing Detroit Techno to a wider audience, particularly in the United Kingdom, where it influenced the development of the British techno scene and Bleep Techno.^[1]

The founding of Techno can be interpreted within an Afrofuturist context, as a vision of music and future culture that could transcend the social limitations and prejudices present in the urban environment of Detroit. While not aiming to exclude Black people, early Detroit techno artists sought to create music that unified people through rhythm, technology, and club culture. Aesthetically, these artists often employed science-fiction imagery to express their visions of a transformed society. A notable exception is Derrick May's "Strings of Life" (1987), which, while a dancefloor anthem, focused on rich synthetic arrangements. The Detroit techno club scene provided a space for suburban Black youth to differentiate themselves from inner-city social dynamics. This was reflected in club culture and party flyers that sometimes emphasized exclusivity based on dress and appearance.

Race relations and identity politics played a role in the development of Detroit Techno. While some critics argued that the genre's "Europhile" influences lacked authenticity, early producers expressed a desire to move beyond racial categorization and create music that was simply "music." Detroit Techno, along with electronic music from Berlin, became a significant influence in the development of modern electronic dance music, house music, and other similar genres.

History[]

The emergence of Detroit Techno is deeply intertwined with the city's social and economic history. Factors such as the decline of the auto industry, white flight to the suburbs, and racial tensions shaped the environment in which this music was created. While the early techno scene originated in Detroit's Black middle-class community, its message often aimed to transcend racial boundaries and unite people through music and technology.

The origins of Detroit Techno are closely tied to a group of three high school friends from Belleville, Michigan: Juan Atkins, Kevin Saunderson, and Derrick May, collectively known as the 'Belleville Three.'^[2] These artists began creating electronic music in their homes, blending influences from various genres. Derrick May famously described Detroit techno as 'a complete mistake... like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.'^[3]

Juan Atkins was the first to venture into music production, forming Cybotron with Rick Davis while attending Washtenaw Community College. Cybotron's 1981 single 'Alleys of Your Mind,' released on their Deep Space label, achieved significant success, selling 15,000 copies. The duo followed up with 'Cosmic Cars' and 'Clear,' which led to a record deal with Fantasy and the release of their album Enter. Following Cybotron's split due to creative differences, Atkins began recording as Model 500 on his own label, Metroplex, releasing the influential single 'No UFO's' in 1985. Eddie Fowlkes, Derrick May, Kevin Saunderson, and Robert Hood also released music on Metroplex.

Derrick May emphasized the importance of the suburban setting in shaping their musical perspective: 'We perceived the music differently than you would if you encountered it in dance clubs. We'd sit back with the lights off and listen to records by Bootsy and Yellow Magic Orchestra. We never took it as just entertainment, we took it as a serious philosophy.'

The Belleville Three's musical influences were eclectic, encompassing Yellow Magic Orchestra, Kraftwerk, Bootsy, Parliament, Prince, Depeche Mode, and The B-52's. Juan Atkins, who was inspired to purchase a synthesizer after hearing Parliament, also pioneered turntablism, teaching DJing techniques to May and Saunderson.

Atkins and May initially DJed as Deep Space Soundworks on Detroit's party circuit. By 1981, local radio personality The Electrifying Mojo was playing the Belleville Three's mixes, and the trio began collaborating with other musicians. They also traveled to Chicago to explore the burgeoning house music scene, drawing inspiration from DJs like Ron Hardy and Frankie Knuckles.

Detroit Techno emerged as a synthesis of Chicago house music with the mechanical sounds of groups like Kraftwerk, reflecting the post-industrial landscape of Detroit. The genre's fascination with the future and technology is often interpreted as a response to Detroit's transition away from industrialism.

In the late 1980s and 1990s, Detroit television programs like The Scene and New Dance Show further supported the local techno music scene.

The term 'techno' to describe the genre gained wider recognition with the 1988 UK compilation Techno! The New Dance Sound of Detroit. This release, curated by Virgin Records talent scout Neil Rushton, aimed to distinguish the Detroit sound from Chicago house and proved influential in the development of the British techno and Bleep Techno scenes.

Journalist Dan Sicko's book Techno Rebels: Renegades of Electronic Funk (1999) played a key role in documenting Detroit's crucial role in the genre's creation and development, countering the perception of techno as a primarily European phenomenon.

Visuals[]

Detroit Techno's visual aesthetic is closely intertwined with its musical origins and cultural context. Several key elements contribute to its distinctive style:

Futuristic Imagery: Early Detroit Techno artists frequently employed science fiction imagery to express their visions of social transformation. This is linked to the genre's emphasis on technology and its potential to create new realities. The influence of Parliament-Funkadelic's 'intergalactic' aesthetic, with its elaborate stage sets and album artwork, is a notable example.
Technological Focus: The use of electronic instruments like drum machines and synthesizers is reflected in the genre's visual presentation. This can manifest in artwork or imagery that emphasizes circuitry, machinery, and technological processes.
Urban Landscape: While often futuristic, the aesthetic also acknowledges the urban environment of Detroit. This can be seen in imagery that reflects the city's industrial past and its post-industrial state or industrial decay.
Afrofuturist Influences: The genre's connection to Afrofuturism is a significant visual and thematic element. This includes exploring themes of 'otherness,' technology as a tool for empowerment, and the creation of alternative realities, often with a focus on Black identity and experience.
Black and White Photography: The use of black and white photography is a recurring visual motif, particularly in artist portraits and album artwork. This can contribute to a sense of starkness, industrial grit, or futuristic detachment, as seen in the work of artists such as Dopplereffekt.

Note: While these elements are present, the primary focus of Detroit Techno remains the music itself. The visual aspects serve to enhance and complement the genre's sonic and cultural message and are a secondary element.

Fashion[]

While Detroit Techno is primarily defined by its musical characteristics, it is also associated with certain fashion and style elements, particularly within the context of events and festivals celebrating the genre.

Fashion at these events often reflects the genre's origins and cultural significance. This includes:

Detroit Pride: Clothing and accessories that explicitly reference Detroit as the birthplace of techno, acknowledging the contributions of Black artists to its creation.
Futuristic and Queer Influences: The adoption of styles that blend traditionally masculine and feminine elements, expressing the countercultural and often queer spirit of electronic music.
Eccentric Expression: A tendency towards bold and unconventional attire, sometimes incorporating fluorescent colors or striking patterns.

It's noted that these styles, often seen in nightclubs, are brought into the open at events like the Movement Festival in Detroit.^[4] The practicality of dance is also a factor, with clothing choices accommodating extended periods of movement."

Politics[]

The emergence of Detroit Techno was shaped by complex social and political factors. The first wave of Detroit Techno differed from Chicago House, originating within Detroit's suburban Black middle-class community. This suburban context separated the early techno artists from the poverty experienced by some Black residents of urban areas in Detroit, Chicago, and New York. This difference in social context led to tensions in some club spaces.

The attraction of some suburban Black middle-class youths to European music was also a point of discussion, with some critics questioning its authenticity. However, analyses of groups like Underground Resistance have highlighted their focus on expressing the experiences of urban communities, rather than simply providing idealized visions of identity.

Identity politics, particularly concerning race relations, is a significant theme in the history of Detroit Techno. Throughout the genre's development, there has been a recurring desire to move beyond rigid racial categories. Early Detroit Techno producers frequently stated their intention to create music that transcended race. As Juan Atkins expressed, "I hate that things have to be separated and dissected [by race] ... to me it shouldn't be white or black music, it should be just music."

Despite these intentions, the classist dynamics of Detroit's social landscape influenced the development of the techno scene. Some early club spaces reflected this tension, with attempts to create exclusive environments based on dress and appearance. However, the overarching artistic vision of Detroit Techno often aimed to create a space for alternative societies, moving beyond traditional concepts of race and ethnicity.

Music[]

Detroit Techno, originating in the mid-1980s, is characterized by a distinct set of musical features. The genre was pioneered by Juan Atkins, Kevin Saunderson, and Derrick May, collectively known as the 'Belleville Three,' within Detroit's middle-class Black club scene.

The initial sound drew heavily from earlier electro works, such as those by Cybotron (Atkins's duo with Richard Davis), emphasizing their darker, more mechanical aspects. This was achieved through the use of newly available drum machines, notably the Roland TR-808 and TR-909.

Influences on early Detroit Techno also included:

Contemporaneous Chicago House
1970s synth-pop from groups like Kraftwerk and Yellow Magic Orchestra
Electro-disco
The synth-funk of George Clinton (cited by early artists as a key influence)

Juan Atkins's single 'No UFO's / Future' is considered an important early example, showcasing the science fiction themes that became a recurring element in the genre. The 1988 compilation *Techno! The New Dance Sound of Detroit* solidified the term 'techno' and distinguished this sound from Chicago House. This compilation also played a crucial role in introducing Detroit Techno to a wider audience, particularly in the UK, where it influenced the development of the British techno and Bleep Techno scenes.

The early 1990s marked the emergence of a 'second wave' of Detroit Techno, with artists exploring diverse sonic directions:

Jeff Mills pushed the genre towards a harder, more energetic sound, often incorporating elements of Acid Techno.
Carl Craig drew on more soulful Deep House influences.
A stripped-back style, pioneered by artists like Robert Hood, evolved into Minimal Techno.

This period also saw international artists producing Detroit Techno-influenced music, such as Ken Ishii (Japan) and Surgeon (UK).

Later in the 1990s, artists like James Stinson (The Other People Place) and Heinrich Mueller (Drexciya, Dopplereffekt) revisited electro and synth-funk influences, emphasizing the genre's science fiction themes.