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Techno
Much of the instrumentation in techno is used to emphasize the role of rhythm over other musical aspects. Vocals and melodies are uncommon. The use of sound synthesis in developing distinctive timbres tends to feature more prominently. Typical harmonic 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 music production technology. Use of the term "techno" to refer to a type of electronic music originated in Germany in the early 1980s.[4] In 1988, following the UK release of the compilation Techno! The New Dance Sound of Detroit, the term came to be associated with a form of EDM produced in Detroit.[5][6] Detroit techno resulted from the melding of synth-pop by artists such as Kraftwerk, Giorgio Moroder and Yellow Magic Orchestra with African American styles such as house, electro, and funk.[7] Added to this is the influence of futuristic and science-fiction themes[8] relevant to life in contemporary American society, with Alvin Toffler's book The Third Wave a notable point of reference.[9][10] The music produced in the mid-to-late 1980s by Juan Atkins, Derrick May, and Kevin Saunderson (collectively known as The Belleville Three), along with Eddie Fowlkes, Blake Baxter, James Pennington and others is viewed as the first wave of techno from Detroit.[11] After the success of house music in Europe, techno grew in popularity in the United Kingdom, Germany, Belgium and The Netherlands. Regional variants quickly evolved and by the early 1990s techno subgenres such as acid, hardcore, bleep, ambient, and dub techno 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 tech house and trance.[12][13][14][15] exploring Detroit techno's origins, writer Kodwo Eshun maintains that "Kraftwerk are to techno what Muddy Waters is to the Rolling Stones: the authentic, the origin, the real."[16] Juan Atkins has acknowledged that he had an early enthusiasm for Kraftwerk and Giorgio Moroder, particularly Moroder's work with Donna Summer and the producer's own album E=MC2. Atkins also mentions that "around 1980, I had a tape of nothing but Kraftwerk, Telex, Devo, Giorgio Moroder and Gary Numan, and I'd ride around in my car playing it."[17] Regarding his initial impression of Kraftwerk, Atkins notes that they were "clean and precise" relative to the "weird UFO sounds" featured in his seemingly "psychedelic" music.[18] 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!".[19] May has commented that he considered his music a direct continuation of the European synthesizer tradition.[20] He also identified Japanese synth-pop act Yellow Magic Orchestra, particularly member Ryuichi Sakamoto, and British band Ultravox, as influences, along with Kraftwerk.[21] YMO's song "Technopolis" (1979), a tribute to Tokyo 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.[22] 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."[20] These early Detroit techno artists additionally employed science fiction imagery to articulate their visions of a transformed society.[23]
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