Overview

There will always be a debate around what exactly techno music is. As one of the prominent forms of electronic dance music, techno took form as a recognised genre in the 1980s, especially via the music being made by producers in Detroit as a continuation of the tradition of Black American dance music. As with all culture, this was an evolutionary progression from previous musical forms which then inspired further developments in the US and globally. Music has always traversed borders, adapting to local conditions and feeding back into the conversation in circular fashion, and it was no different with techno as it spread across the world. As well as a homogenous global phenomenon, it can also be viewed as a network comprised of hundreds, if not thousands, of smaller stories. These stories are populated with people for whom techno is, or was, their life - active participants in a shared experience that transcends the sound to become something more profound. In this book, Oli Warwick gathers together more than 10 years worth of interviews and features exploring vignettes within techno's labyrinthe legacy. From opposite ends of the USA to significant flash points across Europe, through Russia and on to the Far East and the Southern Hemisphere, some stories stand as individual curios while others criss-cross in an explicit depiction of techno's interconnected nature. Looking for lesser known stories outside the dominant narratives around dance music history, celebrating smaller provincial triumphs as well as influential artists and labels, this is but one angle to view techno from. Quite the opposite of definitive, it's simply a possible path through a culture that means so many different things to different people.

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9781914228605

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Oli Warwick has been a music journalist for more than 10 years. Focusing on electronic and experimental music, he's reported on scenes from many different parts of the world, profiling individual artists as well as documenting broader communities, movements and collectives. His tendency is to stubbornly ignore more popular, well-reported music and focus on the outliers and underdogs doing interesting things with pure intentions. His work has been published in print publications such as The Wire, Crack Magazine, DJ Mag, Mixmag, Document Journal, Hunger, and online via Red Bull Music Academy, Juno Plus, Resident Advisor, Electronic Beats, Fact, The Vinyl Factory, XLR8R and many more. Alongside his writing work he has also haphazardly run a record label, promoted a club night, DJ'd at various parties and festivals, hosted a radio show and various other low key exploits within the realms of music culture.

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