Techno: That’s Some White People Shi*????
Picture this: It’s Detroit in the 1980s, a city where neighborhoods were neglected and many businesses lay abandoned, weakened by decades of social unrest, white flight, and economic hardship. However, amid the rust and concrete, something electric was brewing in basement studios and dimly illuminated clubs. Techno originated as a sound that combined the rhythm of resistance with the industrial hum of Detroit. This music, created by three Black innovators—Juan Atkins, Kevin Saunderson, and Derrick May—was a message as much as a means of moving bodies on a dance floor. With every beat, techno, which drew inspiration from Chicago house and the rebellious energy of hip-hop which gave Detroit's underprivileged communities a platform to regain control and creativity by utilizing the very technology once used to oppress them.
Known as the "Belleville Three" after the Detroit suburb where they grew up — Atkins, Saunderson, and May—were transforming their common experiences of societal isolation and urban decay into a fresh, avant-garde sound when they joined forces to record for Metroplex, a label that Atkins established in 1985. Techno was more than just dance floor music to these pioneers; it was the creative and empowering reimagining of industrial technology. Techno offered an underground anthem that spoke to Detroit's underprivileged populations during a time of social and political injustice, hardship, and alienation. The rise of the genre linked musical creativity to the city's problems, as deindustrialization had exacerbated poverty and isolation while state and federal policies that encouraged "white flight" had reduced Detroit's population. However, in this setting, artistic expression and innovation flourished, and hip-hop provided a sonic foundation for house and techno musicians to build upon.
Techno’s sound evolved through queer club culture, DJ mentorship, futuristic philosophies, and science fiction. Techno first appeared on Detroit radio due to the efforts of The Wizard (Jeff Mills) and The Electrifying Mojo (Charles Johnson). Starting in Ann Arbor in the late 1970s and continuing in Detroit throughout the ‘80s and ‘90s, The Electrifying Mojo broadcasted a wide variety of radio shows. Midnight Funk Association is his most well-known program. Mojo conducted interviews with well-known musicians like Prince, performed a variety of musical genres–including jazz, techno, soul, and classical–and built a following of listeners with his on-air theatrics and knack for igniting passion for music. The Wizard, who mixed music at almost unthinkable speeds, introduced techno, hip-hop, and electro to Detroit radio. He was famous for his diverse music selection, speed, and amazing DJing abilities. Techno! The New Dance Sound of Detroit (1988), Techno 2: The Next Generation (1990), and Detroit: Beyond the Third Wave (1995), are three Detroit techno compilations released by British record collector Neil Rushton in the late 1980s. These compilations increased techno's visibility worldwide and helped elevate new techno artists.
Electronic instruments such as drum machines, synthesizers, samplers, multi-track mixers, reel-to-reel, and other tape recording, editing, and playback devices are used in the production of techno. Common 4/4 bass lines overlaid with various rhythmic patterns utilizing a variety of analog and digital sounds are among the musical characteristics of techno. Techno compositions frequently have a fast-paced pulse, typically ranging from 120 to 150 beats per minute. A wide variety of rhythmic patterns are layered on top of both straightforward and intricate bass lines in techno music. These elements combine to create a percussive funk. A successful dance track combines all the components and patterns to establish a nice groove, even if the techno tune feels fast.
As a Black techno fan, I don’t see many other Black people involved in rave culture and techno music. The EDM scene is predominantly white despite its Black roots. Historically, the music industry has favored certain demographics, often excluding artists from diverse backgrounds. Access to resources, promotion, and opportunities is limited for marginalized groups. Lineups for music venues tend to lack diversity, perpetuating the visibility of whiteness in the genre. As EDM has commercialized it has tended to cater to mainstream audiences, deprioritizing diverse representation and diluting the genre to fit a homogenized view. I have always loved that the essence of techno music is to dance and have fun. Club culture has not been the same post-pandemic, and many in Gen-Z feel nostalgic for a club scene they never got to experience. In New York City, where many people are hyper-aware of themselves and embarrassed to let loose, techno goes against that notion. Techno isn't for posers. I immersed myself in techno because it’s about coming as you are. People who rave typically dress comfortably to dance all night, which is more my style– I don’t want to wear kitten heels on a night out. Every raver I've met has been so kind to ensure everyone is hydrated and comfortable. Raving has a way of bringing people together to appreciate bumpin’ tunes. I’ve incorporated the ways of rave culture into my personhood, striving to be more compassionate and understanding while letting go of my fear of being perceived.
So no, techno isn’t just for white people. It’s a way to reconnect with the energy drained from everyday life's pressures. That said, it is important to remember when letting loose that the genre originated from Black musicians. It is imperative to amplify Black EDM artists and acknowledge that even a culture designed to be welcoming and built off of kinship can still be exclusionary.
Here are some Black house and techno artists you should check out:
Black Coffee
MK
Honey Dijon
Green Velvet
