Techno

Techno [ˈtɛknoʊ] is the name of an electronic music direction and in many places as comprehensive term for different, with one another related style directions is used. Approximately around the music also its own youth culture , the Technoszene developed.

table of contents

the music style

Techno designation synthetically , usually vordergründig rhythm-oriented dance music produced Stilisti characteristics. The 4/4 clock is characteristic, with a stress of each quarter by an electronic Bassdrum and one (usually open) rear-has on the straight eighths. Supplementing elements are closed rear-Hats on all Sechzehntel-Noten and Snare drums or Handclaps on each second quarter. The harmony teachings the following chords are of subordinated importance, instead often with individual sounds and their cooperating one experiments. The tone qualities oscillate thereby mostly in the industriellen and/or. metallic surrounding field. The compositions are based on repetitiven arrangements so mentioned. They develop themselves however frequently by inclusion of effects, sounds of surface or by interspersing individual Percussion - elements, which insert themselves smoothly into the rhythm sample, gradually.

early ones electronic music

from Sala and stick living to power station

power station live 2004

Oskar Sala and Karl Heinz stick living are considered as the early pioneers of the electronic music. Their ideas and works connected classical composition with technology. End of the 60's and at the beginning of 70's were it inspiration for the contemporary music of the formation power station from Duesseldorf. Power station was always on the search for the perfect (positive) symbiosis between humans and machine and put with their fourth album „motorway “ (1974) the foundation-stone for the music style Elektropop. As particularly influential on the later musical development its albums are considered „to man-machine “ (1978) and „computer world “ (1981), which already partly exhibited the minimalistic, dancable elements typical for Techno.

1982 published Africa Bambaataa the TRACK „planet skirt “, in which he processed the melody of the power station Songs „Trans Europe express “. „Planet skirt “ is considered today as a classical author of the early Hip Hop, as foundation-stone of Electro and/or. Electro radio and promoted the popularity of power station in the United States, where the formation became an important source of inspiration for later Technopioniere.

Daniel Miller and

1978 based the Londoner Daniel Miller the disk label records, in order to create a platform for its electronic music project The normal. Miller's intention was it to mix Punk aesthetics with electronics. To inspire it left itself thereby from strongly different volume such as power station and The Ramones. The only single Leatherette anticipated warmly with the minimalistic Songsstruktur, the monotonous rhythms and a kind monotonous speech singing already much from the future musical development of this direction. Miller saw it less than music, but rather than Vertonung of an idea, which should energize to further ideas. 1980 were gecovert the Song by Grace Jones and became a world-wide hit.

After considerable success the first single, began to use Miller its label for the publications of promising formations out completely Europe. The first album publication came from the German-American friendship. Apart from the Belgian formation front 242 and likewise on resident project Nitzer ebbs, was style-coining/shaping it with its brachialen bass sequencer runs for the electronics Body music, which ranks among the forerunners of the Techno.

1980 discovered Miller Depeche mode and took those to volume under contract. The volume is called of the Detroiter technical whether founders Derrick May , Kevin Saunderson and Juan Atkins today still regularly as inspiration. Also the projects of Vince Clarke (Yazoo and Erasure), which Depeche mode 1981 left, published on.

Starting from 1992 should the Sublabel with publications like the safe deposit - Compilations and the Loveparade - hymn the sound of the family an important platform of the Techno scene to become.

further one European Innovatoren

  • the Italian these CO producer Giorgio Moroder began already in the 70's-years Synthesizer for repetitive dance rhythms. Its 1977 for Donna buzzer of produced TRACKs „I Feel Love “ are considered as milestone of the electronic dance music.

the designation „Techno “in the 80's-years

background

in Europe was used the term „Techno “for the first time in the year 1982 by Andreas Tomalla ( alias Talla 2XLC). The Frankfurt music lovers worked at the beginning of the 80's in Plattenladen under Frankfurt main station. There it sorted records with electronically produced music into its own category and designated these with „Techno “.

The collective term developed thereby covered at the beginning of currents like the German avant-garde (power station), electronic Popmusik (Depeche mode), EBM (front 242, Nitzer ebb), Industrial (Cabaret Voltaire, Clock DVA, Throbbing Gristle) and generally electronically arranged kinds of play that new Wave - epoch (see Electro Wave), in addition, Detroit Techno (Cybotron), which was coined/shaped strongly by European music directions. In this form itself „Techno could “as general heading for electronic music internationally - and preferably in the German linguistic area - until into the beginning of the 90's spaciously establish.

A substantial difference to the later Techno wave into the 90ern thereby the motives represented, which led also to the development of the individual music directions in and the 80's 70's. With exception of the Electro Pop, with which only some few representatives, as for example The human League, took up thoughtfully which are correct topics, numerous artists - thematic as also klanglich - tried to process mainly dystopisch coined/shaped visions of the future, the post office post-industriellen and urban decay, emotional cold weather or fears of atomic disasters.

This partly in itself contradictory seeming attempt to refer by (once) modern technology to the direct danger derselbigen applied within the later Techno movement than perfectly strangely. It emerged there practically only by the Electro - Revival with artists such as Anthony red ago („bio mechanics “, „DATA bank/nuclear winter “) starting from end of the 90's.

status of a parallel seeming

as itself into the late 80ern under the designation „Techno “increasingly a style affected strongly of the House music crystallized out, came it soon thereafter to the confusion. Until 1993 the Techno magazine Frontpage tried to refer to the differences between the early Techno of the 80's and the style direction Techno (House), developed again. Since both currents called themselves „Techno “, several alternatives to renaming the new kind of play in „Tekni “became or „Comp “submits, which could however never become generally accepted.

Thus the style forms of the 80's (in particular EBM and Industrial ) and those enjoyed directly directions based on it of the 90's (z. B. the Dark Electro and the Electro Industrial) - under the collective term „Techno “- over 3 years long the status of a parallel seeming, which for the time being one worked against successfully with the term electrical for „electronic music “.

important forerunners and factors of influence

Industrial

on the basis of electronic avant-garde - music and the Musique concrète developed in the 70's of the Industrial. Typically for this direction were frequently enriched klangliche over-regulations, interferences or machine-noise-similar compositions, with Samples (in particular film and radio photographs) or cry singing. The provocation and the unrestrained presentation of the brutality of the everyday life were the center of attention. The material developed thereby covers topic areas such as war, torture, murder, fascism, terrorism, isolation or sexual Perversion - things, which are generally displaced or tabuisiert out of social consciousness.

Important representatives of the Industrial, among other things Throbbing Gristle, Cabaret Voltaire or SPK, affected some producers from the Techno surrounding field on musical level. Importantly the Industrial was besides for the development of hard core Techno or Gabba and served as source of inspiration for further Techno subspecies.

EBM

special in Germany used some artists such as DAF, Liaisons Dangereuses or the Krupps at the beginning of the 80's and in the context of the new Germans wave the possibilities newly developed sequencer. And strongly the repetitiven sound loops coined/shaped created thereby by minimalism inspired primarily music projects made of Belgium (front 242), England (Nitzer ebb) and afterwards in completely Europe. These artists crossed again the wuchtigen, voluminösen sounds of the Electropunk with early Industrial and put thus the foundation-stone for the electronics Body music, whose epoch extended for the time being into the early 90's.

EBM applies for new Beat and later also Goa drink in this case as substantial factor of influence to the emergence of Detroit Techno. Already end of the 80's gave it first overlays with Acid House, so for example with Bigod 20 (Acid ton of Body, 1988). DJs and producers such as Sven Väth or DJ bright, presented into the 80ern EBM and arrived over this style at the Techno.

House

in the 80's developed for sounds in the discotheque Warehouse in Chicago the House - music, as advancement 70's-years of the Disco -. The typical Vinyl - single contained already at this time a version with expanded rhythm passage (usually with „club mix “called). Particularly the two DJs Frankie Knuckles (from the Chicagoer Warehouse, named-giving for the later „House “- music) and Larry Levan (from the New Yorker discotheque of Paradise garage, named-giving for „garage House “) recognized the hypnotische and euphorisierende effect of these monotonous distance pieces and began to mix excluding these passages different records and to omit the remainder of the Songs. They are considered today as the founders of House.

Already soon began a set of producers such as Ron Hardy, Steve Hurley or marshal Jefferson to publish in Chicago first plates under the designation „House “.

Detroit Techno

the new beginnings of electronic music styles spread fast and was into the early 80ern also contents of the nocturnal radio ending Midnight radio Association in Detroit, which was moderated by Charles Johnson ( alias The Electrifying Mojo). Johnson paid attention thereby explicitly to balanced sound variety and tried to unite numerous music directions in its transmission. This program was in the long run source of main inspiration for the producers Juan Atkins, Derrick May and Kevin Saunderson (often called the Belleville Three), which by the fusion of different styles the Detroiter Techno - sound created.

Together with smelling pool of broadcasting corporations Davies published Juan Atkins 1984 under the name Cybotron the record „Techno town center “. Only short time later appeared an interview with Cybotron in the English „The Face “- magazines. Here a journalist asked also the question about the musical adjustment of Cybotron. Juan Atkins answered: „call it techno “.

Acid House

smiley symbol

before Techno the mass movement became, provided end of the 80's Acid House for attention. Acid House, first a particularly hard and minimalistic variant of the Chicago Housesounds, was particularly celebrated in England and the holidays island Ibiza. Acid House appeared to a genuine Hippierevival in its outward appearances. Free love (buzzer OF Love) was exactly the same publicised like the ungezügelte benefit of Rauschmitteln. As registration number the music and the scene served that smiley - symbol.

The trend was gehypt intensively by the media and marketed very fast generally speaking yardstick. Conventional one thanks - music was sold (even later) provided with smiley Buttons on rooting tables.

Then it became admits that Acid was the colloquial synonym for the drug LSD and also the Rauschmittel was very popular Ecstasy in the scene. The reactions were strict police controls and innumerable raids. The department stores took all smiley articles from the assortment and large radio stations from fear of image damage refused playing Acid House productions even if these were in the Top Ten. The consequence of this boycott was fast disappearing of the Acid House scene.

new Beat

after the excessive quantity developed for new Beat by accident, when the DJ Mark of Grouls played the 86er single „Flesh “from the Belgian electronics formation A Split Second with 33 RPM instead of 45 RPM. Some expressions Grouls' arrange however rather the impression, for new Beat have themselves purposefully as reaction to the simultaneously existing Acid House - wave develops. The public could not make friends itself with the speed of the Acid House, many Clubgängern almost not possibly appeared it to dance on it.

Subsequently, older clay/tone carriers down, so also EBM were slowed played for the time being - classical authors of front 242 or Nitzer ebb, in addition, before renowned Acid TRACKs stop was not made. First new Beat plates found the way in the music shops and department stores, labels such as Antler Subway marketed new Beat in the completely large style.

For the direction developed again speeds between 90 and 115 BPM as well as the numerous influences from EBM, Acid House or rear-NRG were characteristic. Only 2 years later was the new Beat boom past. It brought however some Belgian Techno producers out and exerted important influence on the early Frankfurt Techno publications.

style development and propagation

the beginnings

club in citizens of Berlin an industrial hall

defiance of the fast sellout of Acid House took place continuously parties, which grew in England to enormous meetings, the Raves in such a way specified.

World-wide new Beat, EBM , Detroit Techno, Disco , House and numerous other electronic music directions fused to Techno House. It is however disputed whether the term component was derived „Techno “ from Detroit Techno or from into the 80ern internationally spread and collective term of the same name. Techno House was shortened afterwards - the Acid House accordingly - on the first term component of Techno. Since the term was differently occupied „Techno “at this time however mainly in the German linguistic area, 1989 changed some citizens of Berlin for its party row Tekknozid the way of writing in „Tekkno “. This way of writing was spaciously transferred for the time being to Germany. Occasionally by the number the K the alleged hardness of the sound on the parties was applied.

In Frankfurt/Main OF Frankfurt first appeared, of new Beat starting from 1989 under the label sound affected Techno publications with artists such as Robotiko Rejekto, concept, LDC or master Program. These were a time long particularly in the Rhine/Main area much like and became by an active exchange landspreading also in Belgium admit. Here disk companies played a substantial role like new zone and Suck ME plasma.

At the beginning of the 90's the versatile Techno sound hardly in styles or categories one under-hurried for the time being. There was usually a large Dancefloor and the DJs played itself within a party by different facets of the Techno music. Usually two DJs divided one night. Already end of the yearly 1991 arose with Mayday for the first time a new party concept. In order to be able to recruit with as much as possible well-known producers and DJs, the play time of the respective DJs was cut on less than one hour. This concept had large success and was ever more frequently at meetings to be found. Particularly the Loveparade and the Technomagazin Frontpage originally originating from Frankfurt had portion of the fast popularization of Techno in Germany.

development of stylistic and regional characteristics

in the Techno scene one rediscovered the TB-303 in this time also , the small Synthesizer, which had been responsible for the characteristic sound of Acid House. Acid Techno developed. Parallel to it producers and composers began to connect such as Harald Blüchel and Paul van Dyk the new Techno structures with harmonious chords and melodies: the drink developed and formed increasingly an independent category. First in Frankfurt/Main (by Marks of Acardipane) and somewhat later also in Amsterdam, which developed Hague and Rotterdam, meanwhile with hard core Techno the exact opposite and the complete distance of everything that has to do with harmony teachings.

In Germany 90's-years new, regionally typical sounds resulted - usually coined/shaped from local resident disk labels at the beginning to center. Thus among other things „the sound OF Frankfurt showed up “in a new garb, with priority promoted by Harthouse, Eye Q and afterwards also by 23 Frankfurt and Frankfurt Beat Productions. In Berlin the safe deposit club with its own label and its producer was trailblazing such as Jeff Mills , Daniel Bell and Joey Beltram for harder sounds, within the drink range was it above all MFS and for a measure-suited mixture out of simple melodies and quick Techno rhythms Low mirror-image-guessed/advised (of Westbam). Popular Acid Techno came from Cologne (with the producer circle around Wolfgang Voigt and Dr. Walker), meals with Important record and Hamburg (Noom record). Likewise stationed in Hamburg the label was Superstition record, which celebrated many successes with melody eyes drink publications.

While in Europe enormous style variety developed and Techno became the cultural movement, the scene in the USA took place further primarily in the underground and the music remained near its klanglichen roots (see z. B. Underground Resistance, Steve Stoll and Damon game). Also successes of the American producers were by far larger in Europe than for example in the United States. Thus changed some from them the residence and settled to Europe over (z. B. Jeff Mills to Berlin).

At the same time (particularly coming from Detroit ) a further style direction of the Techno, minimum the Techno in such a way specified developed. Coining/shaping thereby above all Robert Hood with the album was minimal nation, Terrence Dixon with its label implement record as well as from Oxfordshire/Ontario coming Richie Hawtin.

commercialization

at the success of Techno profited from beginning also the commercially interested music industry. TRACK like „the boat “ of U 96 (1991), „James Brown Is DEAD “ of L.A. Style or „Don't You Want ME “ of Felix (1992), were first charter sequence of productions, which oriented themselves at Techno. On the masses aligned crossings between Techno, Hip House and Pop developed and were marketed with representatives like 2 Unlimited or Culture Beat extensively under the termDancefloor “.

About 1994 created it first drink - productions in the Charts and it were published increased Pop Songs, whose speed and rhythm oriented themselves at Techno (z. B. Dune or Scooter). Techno had however (in contrast to Acid House) enough genuine (sub) cultural substance, in order to escape a complete sellout. Even commercially oriented productions from the own rows (z. B. „Somewhere Over The Rainbow “, a new neuvertonung of the title of the same name from the film the charmful country by Marusha) could not wear long time anything to the scene.

The attempt of an profit-oriented robbing intensified itself later however and it within the folk music ever more frequently hard electronic bass impacts on the quarters was used. 1995 appeared besides a Schlümpfe - CD with the title Tekkno is cool, the Coverversionen of well-known thank hits from the Charts contained.

internationalization

had been main Techno to beginning of the 90's a Western European and US-American movement, then the spark jumped over starting from 1992 gradually into the whole world. In Eastern Europe Techno and Houseparties became a symbol for the new capitalism and a new kind of the fun company, which the new upper class huldigte. In South America, in particular Argentina and Brazil, it gave around 1990 first Techno Parties in the larger cities, for mass movement already became the scene however only around 1996, whereby the interest and of the music direction in this part of the world increases today still. Also in Japan began themselves a first small to develop but gradually ever more influential scene which was interested particularly in fusions between Techno and other music styles (e.g. Towa Tei), in which however on the other hand also its own variant of the Eurobeat developed named Jpop, which was commercially successful. Techno “parades” after the model of the Loveparade were held in the second half of the 90's in many metropolises of the world and contributed to make Techno a global phenomenon. Large parts of Africa and south Asia (if one of the enclave Goa foresees ) form an exception to today the Arab world, where Techno for cultural reasons has hardly trailers.

development up to the presence

starting from approximately 1994 turned away the Underground ever more of the drink and oriented themselves again increases harder technoiden sounds or the rhythm-stressed minimalism minimum of the Techno. A particularly own profile developed the Psychedelic drink (also Goa or Psytrance), whose trailer differently than the majority of the remaining Technoszene in their life-style and their “philosophy” strongly in the Hippie - culture verwurzelt was, these however with the modern technology and a certain slope to the Science Fiction connected. Goa Parties were particularly in Europe a popular development form of Techno oriented music center to end of the 1990er years. At the same time however also the large meetings multiplied as Mayday and Love parade their numbers of visitors, which was accompanied by a certain commercialization. Even not melodische Technotracks was increased in the Charts represented.

As reaction developed, likewise in the middle of the 90's, the so-called intelligently Techno, which was to be arranged complex rhythms, Industrial because of its varieties at kinds of clock, and of the Ambient affected Geräuschorgien and influences from the most diverse music directions hardly still in the drawer Techno strictly speaking. Consequently end of the 90's the term was established intelligently thanks music for this kind of the music (IDM). General agents were and are artists such as Aphex twin and Autechre.

Starting from the late 90's calm air the Techno boom gradually off. The offer at large Raves sank and many influential labels stopped their activities. Parties shifted increased from old storage halls into conventional clubs. Techno developed itself further nevertheless and mixed themselves with other music styles. During in Great Britain and the Netherlands around the turn of the century drink in new form („Dutch drink “with DJ Tiesto and Armin van Buuren) the Techno music in Central Europe celebrated, developed one Renaissance more fully into slow and minimum ranges.

The rapid development of software programs and the Sampling by computers brought new production methods, which electronic music with innumerable different noises and effects made possible. Terms such as Clicks & CUTs made the round. Once more played Richie Hawtin an important role, than he published 2001 with „Closer ton of The Edit “a work, with which it many productions of other artists cut and in the form of Samples and built loops up again. 2002 introduced Akufen (Mark of Leclair) with its album „My Way “ the concept of the Microsampling , with which one uses as short a cutouts of most different origin (in its case with priority of an old short wave receiver) for new rhythm structures as possible. First beginnings of this technology are however already with error 129, which already produced 1996 its EP control LED Voice (Telepathic record) with this technology.

The moreover one in many places a return to the roots took place and sound elements, which oriented themselves clearly more strongly to the EBM of the 80's at the Techno sound of the 90's, found the introduction into the clubs within the Techno scene (among other things by producers such as Johannes welfare, DJ bright, Thomas's P. Tail man or hatch Slater). Taking up by power station - and Electro radio - sound favoured besides a new wave at Electro - publications, renowned producers such as Sven Väth or Westbam brought isolate TRACKs in the Electro garb on the market, further producers such as Anthony red ago specialized in principle in this style.

Some producers and DJs from the initial days oriented themselves again, began again increased to experiment and deliberated themselves on the time before the Hype, while other artists disappeared completely from the light of the public. Only few disk labels marked out at present conventional Techno publications and accordingly small are the number of newcomers, which create the break-through on international level. Partially Verdrossenheit made itself, other felt broad again increases a kind departure tendency. Several producers expressed themselves positively for development and commentated them thereby that those remain remaining arrived, it mean serious (and not primarily for financial reasons into the Techno scene).

In the German-speaking countries Alliens citizen of Berlin label BPitch control with new Acts transferred inches such as Paul Kalkbrenner and Modeselektor an important role. Since 1994 a constant value is the chancellorship - label of Heiko Laux with the relatively new sign Alexander Kowalski. Within the range of the minimum Techno that 1998 of Steve nose created label Poker Flat Recordings and Cologne labels the compact became firm sizes. After the bankruptcy of its scene-coining/shaping labels Eye Q and Harthouse in the year 1997 also Sven Väth publishes again 12 " - records of different artists on its own label (Cocoon Recordings) since 2002.

Altogether one can say, who developed Techno today from the prevailing avant-garde movement within the Popmusik, which were it in the first half of the 1990er years, to a music direction more in a various total music scene. Techno and House nevertheless dominate still the market in the electronic dance music and the electronic music at all. Styles such as Drum'n'Bass, 2step or Electroclash, which were gehypt briefly in the media , stand further far behind its popularity.

production

is produced there Techno by electronic devices, is not not necessary it that the composer a classical instrument (like z. B. Piano) controls. Above all the use from computers and sequencers to the control of key instruments brought in the call of „cheap music for Techno “. In many places expressions were used like „plastic garbage “or „electrical scrap iron “. Nevertheless there are many musicians, who approached Techno production over artistic aspects and intellectual viewpoints. Conventional Song structures were thrown over board and replaced by new ideas. Here among other things the disk label R&S records, Mille Plateaux and Warp with producers played an important role such as Cristian bird, Wolfgang Voigt and smelling pool of broadcasting corporations D. James.

with production is the Drumcomputer of essential importance. Devices with as electronic as possible sounding Perkussion are usually preferred. The TR-808 and the TR-909 von Roland reached cult status, whose production had been however already stopped before the actual Techno Hype. Therefore they have an accordingly high resale value.

With the Synthesizern are above all similar devices likes, because these sound purely “and „clean “„not in such a way like the digital variants and a very large range at sound variations and - modulations by turnable regulator („Knobs so mentioned “) make possible. Popular devices are, and/or. for example TB-303 and Juno were 106. In order to connect the modulation possibilities with the advantages of the digital devices, virtual-similar devices so mentioned were developed. Well-known example is the Clavia north Lead. By the Techno movement some Synthesizer companies became even moved, again modular systems (z. B. to take up the A-100 von Doepfer) to their program, who had only in principle historical meaning.

Starting from center of the 90's-years an increasing misalignment took place on the computer . While it had been used at the beginning still as pure sequencers for the controlling of the other devices over MIDI, the increasing efficiency of the PCs brought the possibilities hard disk of the Recordings. Sampler were replaced by computers. Software companies began with the development and the sales of programs, in which thousands of prefabricated components (rhythm passages, melody sequences etc.) are contained already, which can be combined over a simple screen representation. This puzzle principle led in the Internet to a high tide at amateur productions on modest level. The next development step followed with virtual Synthesizern, with which by PC a genuine hardware Synthesizer can be simulated. A well-known example of it is those reactor - software.

Up-to-date the efforts of some Synthesizer companies go manufacturing over particularly developed software into the direction a symbiosis between the qualities of genuine Synthesizer hardware and the advantages of the PC. A prominent example is the virus TI of the manufacturer ACCESS. The contraction TI stands for totally integration and refers to the integration of the equipment into the virtual environment of the PC.

Techno equated related

style directions, whose

community is based as comprehensive term [

work on] electronic music with regular Bassdrum with the term „Techno “since beginning of the 90's misleading-proves many different, with one another on the stress of each quarter with a Bassdrum.

The attempt of a categorization in Subgenres is as old, as the Techno music. Actually and give there were developments again and again in the development of Techno (partly also only temporal ones and/or spatial). Sometimes marketing stepping gene stood in order to arouse the interest of the public, pretty often in addition, the Technoszene themselves, in order to be able to orient itself in the always difficult-to-understand variety of publications better. Distinction by definition is however only with difficulty possible in many cases, since the borders are nearly always flowing.

The following names for Untergenres are common:

demarcation of House

it proves frequently as difficult to define the family of the Techno directions and House from each other. A separation is rejected by many Protagonisten of the scene, since both music directions are based on similar basic elements. Improvised House can be assigned however on the basis the following criteria:

  • House is often more slowly (110 to 125 BPM)
  • House possesses usually a rhythm by dotted Sechzehnteln (oriented at the radio)
  • marking is also the use of traditional instruments or their Samples.

styles with complex rhythm samples

one continues to seize the term somewhat, can the whole since the 1990ern, dancable music developed with minted an electronic character, not be equated, but „to the range of the Techno “not be assigned. To it also style directions with irregular rhythms and rhythm experiments and partly also category those belong to the range Chill Out to attribute are. The developing history of these categories resembles itself in different points, ran however parallel to a majority and independently to the development of the actual Technoszene. It occurs however that some producers on the entire Spannbreite of the electronic music work (z. B. CJ Boell and and Cristian bird) or different style directions toward appropriate meetings are represented and thus borders smear. Contrarily to it often also artists from category-strange directions avail themselves „Techno typically “elements.

Overlays result in this case with the following kinds of play:

notes to the term

in the early 90's the music often also Tekno, Tekkno or Tekkkno was called. Independently of it „Tekno emerged “with only one K already isolated in TRACK and Compilation titles like „Tekno talc “from Moskwa TV (1985), „Tekno la Droga “from Negrosex (1991) or with the US-amerkanischen electronics compilation „Metro Tekno “(1992). Until approximately 1993 however the regional characteristic circulated to express the hardness of the music with the number of K s. This way of writing could not become generally accepted however.

A similar variant developed with the emergence of the Freetekno - scene shortly thereafter.

Technokultur and Technoszene

major item: Technokultur

round around Techno and related music directions such as House formed into the 1990er year a broad youth movement. Own forms were not only connected with it, to dress (Clubwear) and a certain direction in Design and decoration, but also an own philosophy, which developed on the principles of peace and tolerance, sexual liberty and the Hedonismus - became as short form the Slogan admits Love, Peace and Unity. Likewise own artistic developments developed off the music, which are called Techno art.

Against center of the 1990er years developed however Paralellszenen within the Technokultur, which had to do only little with these ideals. In many countries particularly House, but increasingly also Techno today rather with discotheques for good-earning in connection brought as with one itself as alternatively regarding youth culture.

influential representatives

Germany international

literature

  • Dan Sicko: Techno Rebels: The Renegades OF electronics radio, Billboard Books, New York 1999, ISBN 0-8230-8428-0
  • Marcel fig (joint founder of the Raveline magazine, editor-in-chief with „Deep “): Deep in Techno, Schwarzkopf & Schwarzkopf, Berlin 2000, ISBN 3-89602-328-4
  • Sven shepherd, Jesper of shepherd, Dirk rolling man (publisher: Raveline magazine): Techno encyclopedia. Schwarzkopf & Schwarzkopf, Berlin 1998, ISBN 3-89602-142-7
  • Ilona Bublitz/Cornelius Ballin: The Loveparadestory ´89-99 - ozones of a movement (the Loveparadestory)
  • Reynolds, Simon: Generation Ecstasy - into the world OF techno and rave culture, Little Brown & CO, 1998, ISBN: 0316741116 (appeared in Great Britain as Energy Flash: Picador, 1998, ISBN 0330350560

see also

Wikiquote: Techno - quotations

Web on the left of

Wiktionary: Techno - word origin, synonyms and translations
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