The techno music scene is known for its high-energy beats and futuristic sounds, with a history stretching back to the 1980s.
Over the years, techno has evolved from the early days of Detroit and Chicago house music to a beloved genre worldwide. However, despite its widespread popularity, the techno scene has always been fiercely devoted to its underground roots, with a strong emphasis on authenticity and experimentation.
One of the most controversial issues facing the techno scene today is the increasing commercialisation of the genre. Some fans and producers argue that the rise of ‘business techno’, with its more accessible sound and mainstream appeal, is diluting the raw, unpolished sound of the underground.
However, others see this as a natural evolution of the genre, and a way to bring techno to a wider audience. Despite this controversy, a new breed of producers dedicated to keeping techno true to its roots has emerged in recent years.
These producers are pushing the boundaries of the genre, experimenting with new sounds and techniques, while staying true to the underground spirit that has always defined techno. Whether or not techno will be able to maintain its fiercely uncommercial roots in the face of these changes remains to be seen, but one thing is clear: the techno scene is more vibrant and diverse than ever before.
Mike Banks
Divided Opinions
Techno has always been a form of music with united and divided opinions. From its initial origins in the US and Europe to today’s modern stadium-filling iterations there has often been a split between techno music perceived as more commercial and that regarded as more purist in form.
The concept of business techno, whilst supposedly originating in 2018 when producer Regal declared (perhaps, unfortunately, considering the shitstorm that followed) he wanted to ‘make techno music the new mainstream music’, has been around for far longer.
Whether it be the private jets of Cocoon godfather Sven Vath in the early noughties, flirtations from producers into the diabolical realm deemed as ‘tech-house’ or the modern Instagram-obsessed big room producers who have attracted the ire of techno fans, the perceived commercialisation of techno is never far from centre stage within the genre.
Let's Go Back!
Why then is this the case? Well, techno history is littered with examples of resistance to commerciality, whether it be the deliberate anonymity of innovators such as the notorious camera-shy ‘Mad’ Mike Banks, the unnamed white labels of the early days or the stripped-back aesthetic in style and production.
More recently it has resurfaced with French techno legend Laurent Garnier even launching his CODE3QR label (anonymously – well at least at first!) as a platform for artists whose identities remain anonymous.
There is something therefore distinctly anti-establishment and punk forged into the very DNA of techno which perhaps explains why this topic always resurfaces. The central tenet has always been that the music comes first and there is a lingering feeling that some of the modern generation of DJs and club promoters have it back to front.
Laurent Garnier
Business But Not As Usual
With the homogenisation not just of techno but other forms of dance music the term ‘business techno’ has become synonymous with a wider rejection of the capitalist commercial values which have infiltrated many aspects of the electronic music scene.
A jab to the ribs to those corporate behemoths who pack out mammoth warehouse spaces, overselling and overproducing events only to cram punters in like sardines while they sip (spill) exorbitantly priced drinks and listen to a familiar pattern of the same (overpaid) DJs trundling out the same barrage of tunes.
There is also a nagging sense that something has been lost, the imperfections of those more intimate club nights of the past replaced by something much more shiny, glossy and ultimately less satisfying. The experience feels less visceral; less connected.
Old Grumpy Techno Bastard Syndrome
Now we need to tread carefully here. To be frank, there is probably no place in the modern techno scene for the type of amateur hour antics I got up to running techno nights back in the early noughties and honestly, that might be a relief for everyone. Large commercial techno events and music from the likes of Drumcode can provide vital entry points and introduce the new blood the scene needs to thrive or maybe even survive in a post-pandemic scene.
Furthermore, as identified (correctly) by Scuba the term ‘business techno’ has become a tool for some (think a frustrated forty-year-old man with his decks gathering dust in the garage) to denigrate women. The scene has seen a healthy injection of talented female, LGBTQ and non-binary DJs over recent years which only scratches the surface in readdressing the balance of a traditionally male-dominated scene.
Nevertheless, you only need to jump on a few of their social media accounts to witness the spiky jealousy and downright discrimination which is unfortunately rife.
Is there anything wrong with dancing behind the decks and enjoying yourself?
Are we going to try to prescribe that all female DJs should conform to wearing clothes that meet the techno aesthetic in some way? Of course not. The concern is as ever with style over content, surface over substance.
So how do we reconcile the different spheres of the techno? Perhaps it is time to refocus…
Refocus the lens on local talent
While there may be aspects of the industry that we don’t agree with, the world has changed. Social media platforms such as Instagram are part of our society and like it or not being a modern techno producer or DJ means being au fait with these mediums and utilising them to your advantage.
We can either get irked by those producers who seem more adept online than in the studio or we can choose to place our attention on those producers we love and champion them.
Whether it is local techno heroes making waves in the North West such as Blasha and Allatt (who have gone from their Manchester Meat Free origins to appearing at Berghain) or getting behind those artists you feel are staying true to the underground roots of techno and their artistic integrity.
Adam Beyer
Positive Education Always Corrects Errors
Techno has always been a welcoming community and it should be free of prejudices. Maybe we should seek out those opportunities to enthuse, share and connect about the music we love with newcomers to the scene who may have been drawn in by its more visibly commercial offerings.
The business techno bubble may already have burst with melodic house seeming to be the industry’s latest fad and with the current economic climate (not to mention potential environmental concerns) surely making the high fee, generic lineup model unsustainable.
Hopefully post-pandemic we will start to move back to supporting our local scene and those raw sweaty basements in which techno originated.
There is no doubt our scene has grown up; it’s suited, booted and ready for business but with a little guidance maybe we can get those shoes scuffed, the sweat pouring and get us all back in the dirt enjoying the raw visceral experience which is techno again. Remember positive education always corrects errors…
Here are just a few of our favourites
Oscar Mulero
The Spanish Warm Up label boss has been behind the decks for nearly two decades touring relentlessly and bringing his brand of raw hypnotic techno to his loyal following.
Setaoc Mass
Originating from Manchester, Setaoc Mass absorbs techno’s legacy and carries the torch into tomorrow with his urgent futuristic take on the techno sound.
Dasha Rush
Russian-born live performer, music composer and DJ whose fiercely experimental style has helped forge her way through the techno scene.
Jane Fitz
London-based Jane Fitz has earned a reputation as an innovative selector within the techno community.
Blasha & Allatt
Blasha & Allatt are honorary Mancunian natives and co-founders and residents of the infamous Meat Free parties, which are hailed as one of the wildest techno raves in the UK.
The duo are revered in their local scene as much as they are championed by many of the artists and peers they have played alongside.
Marcal
Brazilian-born and based Marcal has been established as a consistent artist worldwide, always providing an odyssey filled with spellbinding swing and haunting atmospherics.