11/02/2023
WARNING • This is a particularly long rant. But here you go...
“Techno is a genre of electronic dance music (EDM), which is generally produced for use in a continuous DJ set, with tempo often varying between 120 and 150 beats per minute (bpm). Use of the term "techno" to refer to a type of electronic music originated in Germany in the early 1980s. 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.”
“Detroit techno is a type of techno music generally including the first techno productions by Detroit-based artists during the 1980s and early 1990s. Prominent Detroit techno artists include Juan Atkins, Eddie Fowlkes, Derrick May, Jeff Mills, Kevin Saunderson, Blake Baxter, Drexciya, Mike Banks, and Robert Hood. 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.”
The top two paragraphs were taken from Wikipedia and both entries came up as my first options googling Techno or Detroit Techno. With its popularity, came debate, and you can read online ad naseum what is gospel. Techno history is difficult to define because stories/memories differ from Artist, journalist, and fans depending on whether you trace it back to Detroit, Berlin or the UK. However, most credit Disco, Chicago House, German electro-pop, Kraftwerk, Yellow Magic Orchestra, and George Clinton as Techno’s forbearers. The reception and popularity of Techno music has evolved as much as the creation source and the sound itself, from underground movement to mainstream phenomenon. The necessity to add the Detroit to Techno also appeared to be an after thought along with the worldwide success. Could a multi-million dollar music genre be the creative output of some young Black dudes in the Motor City? And despite location, easy access to key technology such as the Roland TB-303 mini-keyboard and later the Roland TR-808 programmed drum machine made it feasible to have an inexpensive way to perform the sounds necessary for this music.
The building blocks of a sound. Writer Sammy Lee in an article for Red Bull Magazine “The city's youth craved escape – and club culture provided just that. Run by party-approving Mayor Coleman Young, late ’70s and early ’80s Detroit was awash with huge disco parties and after-hours clubs with open-minded music policies that encouraged DJs such as Ken Collier – “the Frankie Knuckles of Detroit” to play everything from disco edits and European synth-pop to new wave and the early sounds of Chicago house. The key influences on Techno, was music played by DJ Ken Collier and Detroit's iconic late-night radio personality the Electrifying Mojo.” The influences on these pioneer Techno artists in most articles are the two key figures above and the popular notion of Detroit as a failed Industrial complex with delapitated housing, widespread unemployment and crime.
This notion of urban decay and financial collapse had nothing to do with spawning the Detroit electronic music scene nor was it indicative of the living conditions of most of the participants both Artist and fan. While taking nothing away from the importance of the combination of popular radios mass influence and the skillset of the elder statesman of Detroit DJ craft. What is rarely spoken about or skimmed over is the huge party scene of teenage African Americans with an audience mostly concentrated in a half dozen public high schools that spawned a full culture and appetite for the activities and the music known here as Progressive. These dance tunes landing after Disco but before House were the sonic signature on this ongoing love letter being written to this culture. This was the first influence of many of the pioneers of both House and Techno. Articles and opinions of those not there have become the basis of pseudo-facts while direct quotes from some of the actual history makers of Techno don’t make the cut.
Eddie Fowlkes stated, “I was influenced and first started wanting to be a DJ at a Charivari party hearing the DJ play seamless music” (Darryl Shannon). Derrick May stated, “There is no Derrick without Delano” (Delano Smith). Jeff Mills stated, “Delano Smith influenced most if not all the early pioneers of Techno.” Juan Atkins stated, “his nemesis was Direct Drive” while trying to get his Deep Space DJ collective up and running (Darryl Shannon). Mike Banks before UR attended many of the parties with either Darryl Shannon or Delano Smith on the decks. Both DJs Alton Miller and DWynn of Music Institute fame were first exposed to Delano Smith and Darryl Shannon. Santonio Echols went to Mumford High School and one of his earliest influences to be a DJ (Darryl Shannon). This maybe an unpopular opinion as so many have written and pontificated otherwise. DJs Delano Smith and Darryl Shannon are also two of the most important factors and true earliest influences in the growing electronic music community that spawned Techno. Detroit’ contributions from the early 80’s forward played a major part in the worldwide expansion of this music and the associated culture. Lofty concept? Maybe…
We are prone to seek out origin stories and creation mythos but over the years the supporting cast names and other time and chance nuances can be forgotten. Writer Dan Sicko’ “Techno Rebels” book took a shot and Kristian Hill’ “God Gave Them Drum Machines” brought his vision to the big screen. The electronic music culture in Detroit is a grand story with many voices. There will be more films, books, articles, lectures and conversations and it will take them all; as getting it right is subjective. But for now, just to make it a bakers dozen more Detroit influences, I’ll add to the conversation these next eleven to both Delano and Darryl above. Alan Oldham and the Fast Forward Radio program on WDET. Cliff Thomas and Buy Rite Records. Michael Higgins and the Park Avenue Club and Leland Hotel. Stirling Silver and the Liedernacht. George Baker and the Music Institute. Norman Archer and Archer Records. Nat Morris and The Scene. Carol Marvin and the DEMF. Joy Santiago and the Moshi Company. Morris Mitchell and True Disco. Rik Davis and Cybotron.
Delano Smith is still very much in the scene and shared with writer DeForrest Brown, Jr. in Document: “(DJing now is a whole different thing. A lot of the big names have this whole machine working behind them now, and it’s a social media numbers game now, even with the festivals,) he said. (I don’t knock anybody for what they play or how they make their money or whatever. More power to you, but it’s a numbers and popularity beauty contest now.) Smith understands that the industry has changed as it has been financialized. (Techno and house have definitely been whitewashed, but this is the way things are. It’s a double-edged sword. If it hadn’t been whitewashed, it would still be way, way, way, way underground,) he pragmatically acknowledged, adding, (I’m not knocking Europe or Japan for embracing Techno because they definitely aren’t buying s**t here in America.)” Something indeed strange happened in the late 1980s and early 1990s. Techno, which had not found mainstream popularity in the United States, became great hits in Europe, particularly in the United Kingdom. Virgin Records’ groundbreaking UK collection popularized the name “Techno!” The New Dance Sound of Detroit.
Many Detroit artists have found continued success with the genre as the Detroit pedigree carries weight and respect. Detroit veteran DJ/Producers like Jeff Mills, Juan Atkins, Kevin Saunderson, Carl Craig, and others stay in high demand with the Techno purists and the ever-growing legions of worldwide Techno lovers. Veteran performers and Brands (Underground Resistance, Scan 7, Aux88, Detroit Techno Militia) are legends in their hometown and abroad. While many of the early pioneers have also transitioned into other sounds, there is no lost in drive. Santonio Echols, “ I like it better now. We didn’t have the Internet and social media. I used to chase the music, chase the money. Now older and with no financial pressure, I’m just about the passion and focus of making good music.” Track Master Lou of Scan 7, “ I have been around in the very DNA of this thing. Me, Terrence Parker (TP) and Marc Kitchen (MK) were Separate Minds. The thought was all the different minds together to create separate tracks. I hope this music continues to go on. I want the Detroit OG’s and newgen little g’s to bridge the gap and come together. “
The years have spawned legions that came after the original push who also continue to represent. Dru Ruiz, “all of me that I am is because of black men and women. This is black music and I’m proud to scream it from the roof. I would be nothing if it wasn’t for Mike Huckaby, K-Hand, Claude Young and Tim Baker believing in me.” Luke Hess, “I think to truly rep the Detroit reputation it’s important to truly express who you are and stay true to your roots. True Detroit artists don’t waver from their inspiration and they don’t bend or cater to whatever is popular or trending. Repping Detroit means to stay genuine and true, to work hard, to contribute to your community in a positive way, and to keep pushing the boundaries of creativity into the future.”
Techno is Detroit culture. It is still inspiring to see newcomers pick up the craft. Black Moonchild, “Techno is the soundtrack of my life. I was drawn to it because of its avant-garde and experimental nature. Techno in Detroit is Afrofuturistic and rich with raw artistic expression. Created by and for my people. It’s the sound of the community I love. When I hear it, I think dancing, laughing, joy, and good times.” Henry Brooks,“ being considered one of the next generation Techno artists in Detroit is not something I take lightly. To hold this torch, to me, means to carry the legacy and ethos of Techno – which is to experiment, explore, and push sonic boundaries. As each day passes, I continually strive to become a better artist and am always pushing myself out of my comfort zone.”
Now for the sake of argument, we have no dogs in the fight of who created, who was first, who is the best, etc., etc. There are pioneers and forgotten heroes. There are fabrications amongst the fabulous facts and new emerging and or hidden facts amongst the fabulous fabrications. But Detroit has been right up front in the conversation for decades and most importantly; there is a new creative generation repping the Detroit name and flying the Techno flag on the battlefield of originality and relevance. Detroit intends to always have someone on the field. Now mind you while there is only one picture for UR and DTM, we celebrate their entire membership, Brands included. So with that being said from the Charivari Detroit point of view, we will refer to our entire list as Detroit Techno Originals. 56 Detroit Techno Artists you should get to know and SUPPORT while celebrating Detroit’ contribution to Techno from its beginning to the future.
