In a video I watched on the internet recently, punk hero Henry Rollins, in a skit about techno music, asks “What came first: the shitty music or the shitty drugs?” before launching into an ignorant rant attacking techno music. The way he tells it all electronic music is made by mindless monkeys and the whole scene is superficial. That would be like me reducing all punk music to Blink 182 or saying all hip-hop sounds like 50 Cent. I found it surprising that a musician would blindly dismiss what I regard to be as one of the most innovative forms of expression and portray it as boring repetitive music that requires chemicals to be enjoyed. But the belief that dance music is dominated by a drug culture and that it doesn’t require talent is, while false, a widespread assumption. This could not be farther from the truth. So I’d like to take a moment to highlight the intricate processes of techno and show my appreciation for this often misjudged genre.
Most people have the wrong idea about techno music and its surrounding culture. Given its diversity there is no end all definition of techno but Jeff Mills comes close when he says “It’s the process of trying to describe something in the future musically”. Futuristic ideas and a forward thinking perspective is central to understanding techno music. Techno originated in Detroit during the early 80’s and was influenced a number of elements including science fiction literature, industrial architecture and Funk music. Similar to experimental musicians such as Pink Floyd, early innovators sought to use new technology to create futuristic sounds and music. These artists found that they could bring mechanical instruments to life; in effect passing their spirit from the body into a machine, and produce new music; infecting disco with electronics. Ralf Hutter, member of seminal German techno group Kraftwerk said that the ‘soul’ of the machines has always been part of his music. While this idea might seem rather esoteric and “out there”, in the early days of techno there were no drugs to be seen. Producers were interested only in experimenting with sounds and all their money was invested in drum machines and synthesisers.
As techno spread, developed and mutated, the spirit of innovation remained. Artists producing techno tracks are constantly attempting to push the limits of their musical equipment and many modify or build their own hardware. The techno community is more often made up of nerdish enthusiasts slaving over their compositions rather than pill popping rock stars. This is a highly democratic genre, that for better or worse, anyone can become involved in. Whether what you produce is good relies on your patience, intuition and talent. In the same way that it takes skill and finesse to play a guitar well so too does it take skill and finesse to use a drum machine or a sequencer correctly and make all the elements combine to create a likeable track. In the same way that it takes vision and intelligence to put a band together so too are these qualities essential for an electronic music producer. For most DJs and producers drugs don’t feature in their schedule of musical experimentation, practice, performance and promotion. While there does exist the clichéd image of the superstar DJ living a hedonistic lifestyle of sex, drugs and pounding bass lines, such artists are rarely that good, and they shouldn’t be taken as representative of the culture or genre as a whole.
One area of Rollins attack is the character of those involved in techno, and he questions whether they should be called musicians. He claims that they are super self important and “music thieves”. I find this accusation stunning as I have found the techno community nationally and internationally to be unpretentious and tolerant. Iv seen DJs engage with crowds in a way Iv never seen other types of musicians, and performers are often eager to involve the audience. Electronic producers are generally the first to admit that they don’t know everything, and that a lot of the production experience is about discovery and learning. There is always new equipment to be tested and played with. Usually electronic artists are prepared to listen to and encourage others. There are dozens of internet forums, such as www.idmforums.com, dedicated to helpful advice on how to buy and use equipment and production tips. These are lessons and tricks not documented elsewhere and the community wants to pass on these skills to others. A “do it yourself” attitude is central to techno, but there are always others you can learn from.
With techno music everyone is trying to bring something new to the table. Creating your own personal touch is important and because of the wide range of techniques involved this is possible. In this way it is less limited than other music genres that might rely on more organic sounds in that there is no strict formula or set of instruments the producer is confined to. Often the studio itself becomes its own instrument and the musician may experiment with where different devices are located and connected. It is true that some artists make generic and cheesy songs; but as a genre becomes more popular and commercial people will appear who are interested in making a quick buck with a rubbish song. To write off an entire genre because of a few bad eggs is short-sighted. For every awful Euro trash anthem there are thousands of undiscovered techno tracks.
Another complaint people have with techno and dance music is that artists take samples from other songs and that this in some way “lessens” the originality of the new song. Of course if artists over-rely on a sample to be the main body of a song this can be true. However, when a producer uses an old sample his aim is to make that sample “new” by placing it into the track in an inventive and appropriate fashion that wasn’t thought of before, but that works. The process involves recycling and manipulation and is much more sophisticated that just “stealing” a sample and plagiarising someone else’s song to make your own sound better.
One major problem people have with techno culture is that it is regarded as drug-centric and that drugs are essential for appreciation of the music. I first got into electronic music at a very early age. I just about remember recording mixes off Atlantic 252 and dancing around my sitting room. While I had no understanding of how these sounds were produced I was hooked by their energy and power. Since then I have explored most other musical avenues but it is always dance music which I come back to and it stems from that original love of a hypnotic beat. Me and many other I know share this appreciation which has nothing to do with drugs. I was a techno fan years before I knew what a drug was. However there is an undeniable connection between recreational drugs and dance music. But drugs are a part of many music and party scenes, not just the dance scene. Drugs have been a part of the world of popular music since the dawn of time. They are a part of the culture of youth. It is not appropriate to think of techno music as being unique for its connections with illegal drugs. Enthusiasts are often of the opinion that drugs like ecstasy are a nuisance which ruin the reputation of techno culture. Among the ideas that resonate around the techno culture are the messages of respect and responsibility. The tragedies that have occurred in connection with ecstasy have been a source of regret and meditation for the techno community. Increased drug use, the proliferation of adulterated ecstasy tablets and involvement in criminal activity have forced many event organisers and music producers to re-evaluate the direction of techno. Thankfully those attending raves and concerts have recently been exercising more caution recently and fans attention has been diverted away from drug use and towards the music itself and its appreciation.
By the end of Rollins diatribe I felt sorry for him. Sorry that for him, and many others, their impression of this strange and beautiful music is so completely inaccurate. Few experiences in my life can compare with when I saw The Chemical Brothers or Daft Punk live, or the first time I listened to Aphex Twin’s Selected Ambient Works or the first time I went to a rave. Rollins will probably never see a DJ play a 7 hour set building up and breaking down movements like a maestro. He will never be mesmerised by the intuitive subtleness of minimal techno or dance wildly to dirty French electro. He will continue to spread his misplaced anger and animosity. Which is sad, because techno has an everlasting amount of potential and positive energy.
Most people have the wrong idea about techno music and its surrounding culture. Given its diversity there is no end all definition of techno but Jeff Mills comes close when he says “It’s the process of trying to describe something in the future musically”. Futuristic ideas and a forward thinking perspective is central to understanding techno music. Techno originated in Detroit during the early 80’s and was influenced a number of elements including science fiction literature, industrial architecture and Funk music. Similar to experimental musicians such as Pink Floyd, early innovators sought to use new technology to create futuristic sounds and music. These artists found that they could bring mechanical instruments to life; in effect passing their spirit from the body into a machine, and produce new music; infecting disco with electronics. Ralf Hutter, member of seminal German techno group Kraftwerk said that the ‘soul’ of the machines has always been part of his music. While this idea might seem rather esoteric and “out there”, in the early days of techno there were no drugs to be seen. Producers were interested only in experimenting with sounds and all their money was invested in drum machines and synthesisers.
As techno spread, developed and mutated, the spirit of innovation remained. Artists producing techno tracks are constantly attempting to push the limits of their musical equipment and many modify or build their own hardware. The techno community is more often made up of nerdish enthusiasts slaving over their compositions rather than pill popping rock stars. This is a highly democratic genre, that for better or worse, anyone can become involved in. Whether what you produce is good relies on your patience, intuition and talent. In the same way that it takes skill and finesse to play a guitar well so too does it take skill and finesse to use a drum machine or a sequencer correctly and make all the elements combine to create a likeable track. In the same way that it takes vision and intelligence to put a band together so too are these qualities essential for an electronic music producer. For most DJs and producers drugs don’t feature in their schedule of musical experimentation, practice, performance and promotion. While there does exist the clichéd image of the superstar DJ living a hedonistic lifestyle of sex, drugs and pounding bass lines, such artists are rarely that good, and they shouldn’t be taken as representative of the culture or genre as a whole.
One area of Rollins attack is the character of those involved in techno, and he questions whether they should be called musicians. He claims that they are super self important and “music thieves”. I find this accusation stunning as I have found the techno community nationally and internationally to be unpretentious and tolerant. Iv seen DJs engage with crowds in a way Iv never seen other types of musicians, and performers are often eager to involve the audience. Electronic producers are generally the first to admit that they don’t know everything, and that a lot of the production experience is about discovery and learning. There is always new equipment to be tested and played with. Usually electronic artists are prepared to listen to and encourage others. There are dozens of internet forums, such as www.idmforums.com, dedicated to helpful advice on how to buy and use equipment and production tips. These are lessons and tricks not documented elsewhere and the community wants to pass on these skills to others. A “do it yourself” attitude is central to techno, but there are always others you can learn from.
With techno music everyone is trying to bring something new to the table. Creating your own personal touch is important and because of the wide range of techniques involved this is possible. In this way it is less limited than other music genres that might rely on more organic sounds in that there is no strict formula or set of instruments the producer is confined to. Often the studio itself becomes its own instrument and the musician may experiment with where different devices are located and connected. It is true that some artists make generic and cheesy songs; but as a genre becomes more popular and commercial people will appear who are interested in making a quick buck with a rubbish song. To write off an entire genre because of a few bad eggs is short-sighted. For every awful Euro trash anthem there are thousands of undiscovered techno tracks.
Another complaint people have with techno and dance music is that artists take samples from other songs and that this in some way “lessens” the originality of the new song. Of course if artists over-rely on a sample to be the main body of a song this can be true. However, when a producer uses an old sample his aim is to make that sample “new” by placing it into the track in an inventive and appropriate fashion that wasn’t thought of before, but that works. The process involves recycling and manipulation and is much more sophisticated that just “stealing” a sample and plagiarising someone else’s song to make your own sound better.
One major problem people have with techno culture is that it is regarded as drug-centric and that drugs are essential for appreciation of the music. I first got into electronic music at a very early age. I just about remember recording mixes off Atlantic 252 and dancing around my sitting room. While I had no understanding of how these sounds were produced I was hooked by their energy and power. Since then I have explored most other musical avenues but it is always dance music which I come back to and it stems from that original love of a hypnotic beat. Me and many other I know share this appreciation which has nothing to do with drugs. I was a techno fan years before I knew what a drug was. However there is an undeniable connection between recreational drugs and dance music. But drugs are a part of many music and party scenes, not just the dance scene. Drugs have been a part of the world of popular music since the dawn of time. They are a part of the culture of youth. It is not appropriate to think of techno music as being unique for its connections with illegal drugs. Enthusiasts are often of the opinion that drugs like ecstasy are a nuisance which ruin the reputation of techno culture. Among the ideas that resonate around the techno culture are the messages of respect and responsibility. The tragedies that have occurred in connection with ecstasy have been a source of regret and meditation for the techno community. Increased drug use, the proliferation of adulterated ecstasy tablets and involvement in criminal activity have forced many event organisers and music producers to re-evaluate the direction of techno. Thankfully those attending raves and concerts have recently been exercising more caution recently and fans attention has been diverted away from drug use and towards the music itself and its appreciation.
By the end of Rollins diatribe I felt sorry for him. Sorry that for him, and many others, their impression of this strange and beautiful music is so completely inaccurate. Few experiences in my life can compare with when I saw The Chemical Brothers or Daft Punk live, or the first time I listened to Aphex Twin’s Selected Ambient Works or the first time I went to a rave. Rollins will probably never see a DJ play a 7 hour set building up and breaking down movements like a maestro. He will never be mesmerised by the intuitive subtleness of minimal techno or dance wildly to dirty French electro. He will continue to spread his misplaced anger and animosity. Which is sad, because techno has an everlasting amount of potential and positive energy.
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