History Main / Techno

The term "techno" has often been misused as a catch-all term for electronic dance music. Techno tends to have a rather specific sound, and in fact a decent amount of what some people call "techno" is usually either {{trance}}, [[HouseMusic house music]], or [[{{Europop}} Eurodance]]. Some fans find it very frustrating when people misunderstand what techno is about. Calling [[http://www.youtube.com/watch?v=PSYxT9GM0fQ this]] techno is as accurate as calling AvrilLavigne hardcore punk[[hottip:*:That song is {{trance}}, for those who are wondering]].

It was originally conceived in TheEighties by three black middle class Detroit audiophiles (called "The Belleville Three" due to their neighborhood): Juan Atkins, Derrick May, and Kevin Saunderson. They started making music that combined their love of early European synthpop (particularly Music/{{Kraftwerk}}) and contemporary funk. It basically ended up sounding like music for robots to breakdance to. Atkins was arguably the [[UrExample first]] person to produce techno music, while May [[TropeMakers developed]] many of its distinct features, and Saunders was the first to push techno [[TropeCodifier to the charts]] (with his group Inner City). [[http://www.youtube.com/watch?v=I280cxs2jvA Here's]] an example of an early techno song by Juan Atkins' group Cybotron.

After the 1980s techno has moved far beyond the borders of {{Detroit}} and has a sizeable fan base around the world. {{Germany}} in particular has taken a liking to the genre, and {{Berlin}} has become techno's second city, more or less. German techno has two major strands: the maximalist techno meant for mainstream clubs and raves, and the minimalist subgenre that's more fitting for home listening, though it's played in clubs as well.

-->-- ''HomestarRunner'' "[[http://www.homestarrunner.com/sbemail45.html Techno]]"

It was originally conceived in TheEighties by three black middle class Detroit audiophiles (called "The Belleville Three" due to their neighborhood): Juan Atkins, Derrick May, and Kevin Saunderson. They started making music that combined their love of early European synthpop (particularly {{Kraftwerk}}) and contemporary funk. It basically ended up sounding like music for robots to breakdance to. Atkins was arguably the [[UrExample first]] person to produce techno music, while May [[TropeMakers developed]] many of its distinct features, and Saunders was the first to push techno [[TropeCodifier to the charts]] (with his group Inner City). [[http://www.youtube.com/watch?v=I280cxs2jvA Here's]] an example of an early techno song by Juan Atkins' group Cybotron.

It was originally conceived in TheEighties by three black middle class Detroit audiophiles (called "The Belleville Three" due to their neighborhood): Juan Atkins, Derrick May, and Kevin Saunderson. They decided to start making music that combined their love of early European synthpop (particularly {{Kraftwerk}}) and contemporary funk. It basically ended up sounding like music for robots to breakdance to. [[http://www.youtube.com/watch?v=I280cxs2jvA Here's]] an example of an early techno song by Juan Atkins' group Cybotron.

After the 1980s techno has moved far beyond the borders of {{Detroit}} and has a sizeable fan base around the world. {{Germany}} in particular has taken a liking to the genre, and {{Berlin}} has become techno's second city, more or less. German techno has two major strands: the maximalist techno meant for clubs and raves, and the minimalist subgenre that's more fitting for home listening, though it's played in clubs as well.

Despite their differences, techno and house have nevertheless had a pretty symbiotic relationship, sharing many similar attributes, such as a 4/4 beat and looped samples. The more synthetic and robotic the sound is, the more likely it's techno. The more organic and disco-y sounding it is, the more likely it's house. The two genres have overlapped often, the subgenre of "tech house" being one result of merging the two. [[http://www.youtube.com/watch?v=KevUFO2moZI Here]] is an example of what techno began to sound like after the house music influence in it became more prominent.

The minimal techno music movement has engineered some of the most incredibly fervent defenders of this genre. Here is the story: in the mid-1990s, after the passage of the acid house/techno movement, followed by the raves and free parties in Europe, as well as the rise to fame of trance and extreme hardcore, techno was going through a crisis. The music that was once dance-oriented, funky and soulful had become too ravey, fast, and hard to the taste of some of the older figures in techno. One of them, Richie Hawtin, reacted with sonic minimalism. Under the moniker Plastikman, he produced some of the most smooth, fluid, and funky techno ever, using almost the same tools than those who created the genre: Roland drum machines and bassline generators.

Despite their differences, techno and house have nevertheless had a pretty symbiotic relationship, sharing many similar attributes, such as a 4/4 beat and looped samples. The more inorganic and synthetic the sound is, the more likely it's techno. The more organic and disco-y sounding it is, the more likely it's house. The two genres have overlapped often, the subgenre of "tech house" being one result of merging the two. [[http://www.youtube.com/watch?v=KevUFO2moZI Here]] is an example of what techno began to sound like after the house music influence in it became more prominent.

Despite their differences, techno and house have nevertheless had a pretty symbiotic relationship, sharing many similar attributes, such as a 4/4 beat and looped samples. The more futuristic and synthetic the sound is, the more likely it's techno. The more organic and disco-y sounding it is, the more likely it's house. The two genres have overlapped often, the subgenre of "tech house" being one result of merging the two. [[http://www.youtube.com/watch?v=KevUFO2moZI Here]] is an example of what techno began to sound like after the house music influence in it became more prominent.

* Acid techno, which uses the very recognisable and hypnotic Roland TB-303 bassline synthesizer: http://www.youtube.com/watch?v=n9hYX4XCzQ4

* Acid techno, which uses the very recognisable and hypnotic Roland TB303 bassline synthesizer: http://www.youtube.com/watch?v=n9hYX4XCzQ4

* European techno that evolved from the Detroit sound in the 1990s: http://www.youtube.com/watch?v=Gjzxqi5WKa4

Techno, put basically, is futuristic sounding music with a 4/4 beat (as in it goes, BOOM. BOOM. BOOM. BOOM.) and a heavy dose of synthesizers. However, this doesn't mean that music that have these characteristics are specifically techno, or techno has to have these characteristics.

It was originally conceived in {{the eighties}} by three black middle class Detroit audiophiles (called the Belleville three due to their neighborhood) when they decided to start making music that combined their love of early, euro-centric synthpop (particularly {{Kraftwerk}}) and contemporary funk. It basically ended up sounding like music for robots to breakdance to. Here's an example of an early (possibly the first) techno song by the Belleville Three's group [[http://www.youtube.com/watch?v=I280cxs2jvA Cybotron]].

Around the same time, {{house music}} was starting to become a major player in the Chicago dance scene. When the early techno producers heard some of it, they adapted the the 4/4 beat house is known for to techno's robotic, futuristic sound. Techno and house have a pretty symbiotic relationship, sharing many similar attributes (usually a 4/4 beat, looped samples). Basically, the more futuristic sounding it is, the more likely it's techno. The more disco-y sounding it is, the more likely it's house. Of course they overlap often.
[[http://www.youtube.com/watch?v=KevUFO2moZI This]] is what techno sounds like today, after the house music influence.

Techno today has moved far beyond the borders of {{Detroit}} and has a sizeable fan base around the world. {{Germany}} in particular has taken a liking to the genre, and {{Berlin}} has become techno's second city, more or less.

Also, techno is not a catch-all term for electronic dance music. Techno tends to be in a rather specific scene, and in fact a decent amount of what people call on forum boards "techno" is usually either {{trance}} or {{house music}}. Some people too find it very frustrating when people misunderstand what techno is about. Calling [[http://www.youtube.com/watch?v=PSYxT9GM0fQ this]] techno is as accurate as calling AvrilLavigne hardcore punk[[hottip:*:That song is {{trance}}, for those wondering]].

The other wiki has a more in depth article on [[http://en.wikipedia.org/wiki/Techno techno]].

{{Three Chords And The Truth}}: As surprising as it may sound, the minimal techno music movement has engineered some of the most incredibly fervent defenders of this trope. Here is the story: during the middle of the 90's, after the passage of the acid house/techno movement, followed by the Rave and Free Parties in Europe as well as the raise to fame of trance, and the raise to, well, extremes of hardcore, techno was going through a crisis: that music that was once dance-oriented, funky and soulful was going too ravey, fast, hard, and obnoxious to the taste of some of the older figures of techno. One of them, Ritchie Hawtin, reacted with sonic minimalism: under the moniker Plastikman, he produced some of the most smooth, fluid yet funky techno ever, using almost the same tools than those who created the genre: Roland drum machines and bassline generators. http://www.youtube.com/watch?v=x-pvejqJGTI. Another man, Robert Hood, came with another approach: structural minimalism. It consisted of keeping the music structure very clear, simple and repetitive, but also in making sure that the sonic quality of the production was the best possible: it gave birth to some marvels like one of his last single, Alpha. So they were not the only ones being tired of ravey and bleepy techno, and Minimal gained considerable fanbase in the beginning of 2000. As of now, some of the most famous techno producers, namely Dubfire and Paul Kalkbrenner, create very minimalistic techno. Classic techno, which continued to evolve in parallel, sort of merged recently with the Minimal movement, brigning tempos back to more danceable 125-128, and retaining a lot of the power and precision of the minimal basslines. Some of the best example of this sound is this: http://www.youtube.com/watch?v=4oMCufCufZQ. In the case of techno music, one could rename that trope "two beatboxes, one bassline and the truth".
It produced a generation of techno lovers that are extremely purist about the music they love.

{{Common Time}}: All techno is in 4/4, with a bass drum on each downbeat, and either a clap or a snare on every 2nd and 4th beat. however it mostly adverts the open-hi-hat-on-every-upbeat feeling of house, but most of the time there's some rhythmic accent that marks the upbeats.

{{Darker And Edgier}}: While the people in Chicago were partying and having good time, dancing like there's no tomorrow on that fun-n-games music that is house, people in Detroit were putting their own twist to the Windy City bros' music: they were mostly car manufacturing workers, working all day with robots. Some of them crossed hard periods in their life, as most car manufacturers were crossing an economic crisis caused by an oil crisis. Their city was going in ruins, criminality was rampant, and while some other people of roughly the same demographic were busy creating their own brand of darker-and-edgier brand of Rap music, the spiritual offspring of the Belleville Three were raving in abandoned warehouses to the sound of that hard, mechanic funk that we know now as techno. And boy, it was darker and edgier than house music:
* Here straight-up Detroit-Style, http://www.youtube.com/watch?v=KevUFO2moZI
* And right there when the German, as well as when some other Eastern Europe countries picked up the movement and stepped up the game a bit. http://www.youtube.com/watch?v=Gjzxqi5WKa4
* But then again, some sub-genres of techno played it almost straight. For example,
** Schranz, born in Germany, a sub-genre that relies heavily on distorted and dissonant synth loops: http://www.youtube.com/watch?v=Ovm0CfCfvgI
** And acid techno, which used the very recognisable and hypnotic TB303 bassline synthetiser, again from Roland: http://www.youtube.com/watch?v=n9hYX4XCzQ4

See SpeedyTechnoRemake.

Techno, put basically, is futuristic sounding music with a 4/4 beat (as in it goes, BOOM. BOOM. BOOM. BOOM.) and a heavy dose of {{synthesizeritis}} ({{YMMV}} on whether that's a good or bad thing). However, this doesn't mean that music that have these characteristics are specifically techno, or techno has to have these characteristics.

-->-- ''HomstarRunner'' "[[http://www.homestarrunner.com/sbemail45.html Techno]]"

"...like Detroit...a complete mistake. It's like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company."
-> - Derrick May

Around the same time, {{House Music}} was starting to become a major player in the Chicago dance scene. When the early Techno producers heard some of it, they adapted the the 4/4 beat house is known for to techno's robotic, futuristic sound. Techno and house have a pretty symbiotic relationship, sharing many similar attributes (usually a 4/4 beat, looped samples). Basically, the more futuristic sounding it is, the more likely it's techno. The more disco-y sounding it is, the more likely it's house. Of course they overlap often.

Techno today has moved far beyond the borders of {{Detroit}} and has a sizable fan base around the world. {{Germany}} in particular has taken a liking to the genre, and {{Berlin}} has become Techno's second city, more or less.

Also, Techno is not a catch-all term for electronic dance music. Techno tends to be in a rather specific scene, and in fact a decent amount of what people call on forum boards "techno" is usually {{house music}}. Some people too find it very frustrating when people misunderstand what Techno is about. Calling [[http://www.youtube.com/watch?v=PSYxT9GM0fQ this]] techno is as accurate as calling Avril Lavigne Hardcore Punk.

{{Three Chords And The Truth}}: As surprising as it may sound, the Minimal Techno music movement has engineered some of the most incredibly fervent defenders of this trope. Here is the story: during the middle of the 90's, after the passage of the acid house/techno movement, followed by the Rave and Free Parties in Europe as well as the raise to fame of Trance, and the raise to, well, extremes of Hardcore, Techno was going through a crysis: that music that was once dance-oriented, funky and soulfull was going too ravey, fast, hard, and obnoxious to the taste of some of the older figures of techno. One of them, Ritchie Hawtin, reacted with sonic minimalism: under the moniker Plastikman, he produced some of the most smooth, fluid yet funky techno ever, using almost the same tools than those who created the genre: Roland drum machines and bassline generators. http://www.youtube.com/watch?v=x-pvejqJGTI. Another man, Robert Hood, came with another approach: structural minimalism. It consisted of keeping the music structure very clear, simple and repetitive, but also in making sure that the sonic quality of the production was the best possible: it gave birth to some marvels like one of his last single, Alpha. So they were not the only ones being tired of ravey and bleepy techno, and Minimal gained considerable fanbase in the beginning of 2000. As of now, some of the most famous Techno producers, namely Dubfire and Paul Kalkbrenner, create very minimalistic techno. Classic techno, which continued to evolve in parallel, sort of merged recently with the Minimal movement, brigning tempos back to more danceable 125-128, and retaining a lot of the power and precision of the minimal basslines. Some of the best example of this sound is this: http://www.youtube.com/watch?v=4oMCufCufZQ. In the case of techno music, one could rename that trope "two beatboxes, one bassline and the truth".

{{Common Time}}: All Techno is in 4/4, with a bass drum on each downbeat, and either a clap or a snare on every 2nd and 4th beat. however it mostly adverts the open-hi-hat-on-every-upbeat feeling of house, but most of the time there's some rhythmic accent that marks the upbeats.

{{Darker And Edgier}}: While the people in Chicago were partying and having good time, dancing like there's no tomorrow on that fun-n-games music that is House, people in Detroit were putting their own twist to the Windy City bros' music: they were mostly car manufacturing workers, working all day with robots. Some of them crossed hard periods in their life, as most car manufacturers were crossing an economic crysis caused by an oil crysis. Their city was going in ruins, criminality was rampant, and while some other people of rougly the same demographic were busy creating their own brand of darker-and-edgier brand of Rap music, the spiritual offspring of the Belleville Three were raving in abandonned warehouses to the sound of that hard, mechanic funk that we know now as Techno. And boy, it was darker and edgier than House music:

* And right there when the German, as well as when some other eastern-europe countries picked up the movement and stepped up the game a bit. http://www.youtube.com/watch?v=Gjzxqi5WKa4
* But then again, some subgenres of techno played it almost straight. For example,
** Schranz, born in Germany, a subgenre that relies heavily on distorded and dissonant synth loops: http://www.youtube.com/watch?v=Ovm0CfCfvgI
** and Acid Techno, which used the very recognisable and hypnotic TB303 bassline synthetiser, again from Roland: http://www.youtube.com/watch?v=n9hYX4XCzQ4

Also, Techno is not a catch-all term for electronic dance music. Techno tends to be in a rather specific scene, and in fact a decent amount of what people call on forum boards "techno" is usually {{house music}}. Some people too find it very frustrating when people misunderstand what Techno is about. Calling that http://www.youtube.com/watch?v=PSYxT9GM0fQ techno is as accurate as calling Avril Lavigne Hardcore Punk.

It was originally conceived in {{the eighties}} by three black middle class Detroit audiophiles (called the belleville three due to their neighborhood) when they decided to start making music that combined their love of early, euro-centric synthpop (particularly {{Kraftwerk}}) and contemporary funk. It basically ended up sounding like music for robots to breakdance to. Here's an example of an early (possibly the first) techno song by the Belleville Three's group [[http://www.youtube.com/watch?v=I280cxs2jvA Cybotron]].

Around the same time, {{House Music}} was starting to become a major player in the chicago dance scene. When the early Techno producers heard some of it, they adapated the the 4/4 beat house is known for to techno's robotic, futuristic sound. Techno and house have a pretty symbiotic relationship, sharing many similar attributes (usually a 4/4 beat, looped samples). Basically, the more futuristic sounding it is, the more likely it's techno. The more disco-y sounding it is, the more likely it's house. Of course they overlap often.

Also, Techno is not a catch-all term for electronic dance music. Techno tends to be in a rather specific scene, and in fact a decent amount of what people call on forum boards "techno" is usually {{house music}}. Some people too find it very frustrating when people misunderstand what Techno is about. Calling that http://www.youtube.com/watch?v=PSYxT9GM0fQ techno is as acurate as calling Avril Lavigne Hardcore Punk.

The other wiki has a more in depth article on [[http://en.wikipedia.org/wiki/Techno techno]] if you really want to get the scope of

{{Three Chords And The Truth}}: As surprising as it may sound, the Minimal Techno music movement has engineered some of the most incredibly fervent defenders of this trope. Here is the story: during the middle of the 90's, after the passage of the acid house/techno movement, followed by the Rave and Free Parties in Europe as well as the raise to fame of Trance, and the raise to, well, extremes of Hardcore, Techno was going through a crysis: that music that was once dance-oriented, funky and soulfull was going too ravey, fast, hard, and obnoxious to the taste of some of the older figures of techno. One of them, Ritchie Hawtin, reacted with sonic minimalism: under the moniker Plastikman, he produced some of the most smooth, fluid yet funky techno ever, using almost the same tools than those who created the genre: Roland drum machines and bassline generators. http://www.youtube.com/watch?v=x-pvejqJGTI. Another man, Robert Hood, came with another approach: structural minimalism. It consisted of keeping the music structure very clear, simple and repetitive, but also in making sure that the sonic quality of the production was the best possible: it gave birth to some marvels like one of his last single, Alpha. So they were not the only ones being tired of ravey and bleepy techno, and Minimal gained considerable fanbase in the beginning of 2000. As of now, some of the most famous Techno producers, namely Dubfire and Paul Kalkbrenner, create very minimalistic techno. Classic techno, which continued to evolve in parallel, sort of merged recently with the Minimal movement, brigning tempos back to more danceable 125-128, and retaining a lot of the power and precision of the minimal basslines. Some of the best example of this sound is this: http://www.youtube.com/watch?v=4oMCufCufZQ. In the case of techno music, one could rename that trope "two beatboxes, one bassline and the truth".
It produced a generation of techno lovers that are extremely purist about the music they love.

{{synthesizeritis}}: Adverted. As surprising as it may sound, there is not that much synthetisers in pure Techno music. Techno is an inherently percussive music, so it relies much, much more on sampled loops than synth parts. Though {{YMMV}} for two reasons:
* You can argue a lot about what is actually a synthetiser. First of all, while a sampler is technically very far from an actual synth, some offered extensive sound manipulation capacities, so much that one could sample some pretty rational noises, and come up with bleeps and pops that are anything but natural. Then, two of the most extensively used tools in techno music, namely Roland's famed TR808 and TR909 drum machines, used pure synthetis for the former and a mix of synthetis and sampling for the later to create their drum sounds. Even if the engineers at Roland did tweak a lot to get the most realistic possible sonorities, their creations were quickly disregarded when appeared the first full-sampling drum machines, which needless to say sounded much more close to actual drums that ever did the TR808 and 909. Those were forgotten in the backstores of music gear shops and sold for peanuts in pawn shops. However, in a bizarre twist of fate, some daring musicians, I named the Belleville Three were in need of a) cheap music gear and b) darker and edgier sounds. This is how was born the legend of the 808 and 909, which were ironically the most used actual synthetisers used in techno music. So if you think of synthetiseritis as what happend to several prog-rock bands in the 80's such as Journey or the whole wave of pop music, by that I mean lush pads and phats riffs mostly made from simple Moog synths, Techno music has successfully adverted synthetiserithis.

{{Three Chords And The Truth}}: As surprising as it may sound, the Minimal Techno music movement has engineered some of the most incredibly fervent defenders of this trope. Here is the story: during the middle of the 90's, after the passage of the acid house/techno movement, followed by the Rave and Free Parties in Europe as well as the raise to fame of Trance, and the raise to, well, extremes of Hardcore, Techno was going through a crysis: that music that was once dance-oriented, funky and soulfull was going too ravey, fast, hard, and obnoxious to the taste of some of the older figures of techno. One of them, Ritchie Hawtin, reacted with sonic minimalism: under the moniker Plastikman, he produced some of the most smooth, fluid yet funky techno ever, using almost the same tools than those who created the genre: Roland drum machines and bassline generators. http://www.youtube.com/watch?v=x-pvejqJGTI. Another man, Robert Hood, came with another approach: structural minimalism. It consisted of keeping the music structure very clear, simple and repetitive, but also in making sure that the sonic quality of the production was the best possible: it gave birth to some marvels like one of his last single, Alpha. So they were not the only ones being tired of ravey and bleepy techno, and Minimal gained considerable fanbase in the beginning of 2000. As of now, some of the most famous Techno producers, namely Dubfire and Paul Kalkbrenner, create some very minimalistic techno. Classic techno, which continued to evolde in parallel, sort of merged recently with Minimal movements, brigning tempo's back to more danceable 125-128, and retaining a lot of the power and precision of the minimal basslines. Some of the best example of this sound is this: http://www.youtube.com/watch?v=4oMCufCufZQ. In the case of techno music, one could rename that trope "two beatboxes, one bassline and the truth".

The other wiki has a more in depth article on [[http://en.wikipedia.org/wiki/Techno techno]] if you really want to get the scope of it.

* Darker and Edgier: While the people in Chicago were partying and having good time, dancing like there's no tomorrow on that fun-n-games music that is House, people in Detroit were putting their own twist to the Windy City bros' music: they were mostly car manufacturing workers, working all day with robots. Some of them crossed hard periods in their life, as most car manufacturers were crossing an economic crysis caused by an oil crysis. Their city was going in ruins, criminality was rampant, and while some other people of rougly the same demographic were busy creating their own brand of darker-and-edgier brand of Rap music, the spiritual offspring of the Belleville Three were raving in abandonned warehouses to the sound of that hard, mechanic funk that we know now as Techno. And boy, it was darker and edgier than House music:
** Here straight-up Detroit-Style, http://www.youtube.com/watch?v=KevUFO2moZI
** And right there when the German, as well as when some other eastern-europe countries picked up the movement and stepped up the game a bit. http://www.youtube.com/watch?v=Gjzxqi5WKa4
* {{synthesizeritis}} Adverted. As surprising as it may sound, there is not that much synthetisers in pure Techno music. Techno is an inherently percussive music, so it relies much, much more on sampled loops than synth parts. Though {{YMMV}} for two reasons:
** You can argue a lot about what is actually a synthetiser. First of all, while a sampler is technically very far from an actual synth, some offered extensive sound manipulation capacities, so much that one could sample some pretty rational noises, and come up with bleeps and pops that are anything but natural. Then, two of the most extensively used tools in techno music, namely Roland's famed TR808 and TR909 drum machines, used pure synthetis for the former and a mix of synthetis and sampling for the later to create their drum sounds. Even if the engineers at Roland did tweak a lot to get the most realistic possible sonorities, their creations were quickly disregarded when appeared the first full-sampling drum machines, which needless to say sounded much more close to actual drums that ever did the TR808 and 909. Those were forgotten in the backstores of music gear shops and sold for peanuts in pawn shops. However, in a bizarre twist of fate, some daring musicians, I named the Belleville Three were in need of a) cheap music gear and b) darker and edgier sounds. This is how was born the legend of the 808 and 909, which were ironically the most used actual synthetisers used in techno music. So if you think of synthetiseritis as what happend to several prog-rock bands in the 80's such as Journey or the whole wave of pop music, by that I mean lush pads and phats riffs mostly made from simple Moog synths, Techno music has successfully adverted synthetiserithis.
** But then again, some subgenres of techno played it almost straight. For example,
*** Schranz, born in Germany, a subgenre that relies heavily on distorded and dissonant synth loops: http://www.youtube.com/watch?v=Ovm0CfCfvgI
*** and Acid Techno, which used the very recognisable and hypnotic TB303 bassline synthetiser, again from Roland: http://www.youtube.com/watch?v=n9hYX4XCzQ4

Also, Techno is not a catch-all term for electronic dance music. Techno tends to be in a rather specific scene, and in fact a decent amount of what people call on forum boards "techno" is usually {{house music}}.

** Here straight-up Detroi-Style, http://www.youtube.com/watch?v=KevUFO2moZI
** And right there when the German, as well as some other easter-europe countries picked up the movement and stepped up the game a bit. http://www.youtube.com/watch?v=Gjzxqi5WKa4

*** and Acid Techno, which used the very recognisable and hypnotic TB303, again from Roland: http://www.youtube.com/watch?v=n9hYX4XCzQ4

The other wiki has a more in depth article on [[http://en.wikipedia.org/wiki/Techno techno]] if you really want to get the scope of it.

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