In the Mix: an introduction to Detroit techno

A brief history of Detroit techno and the essential tracks, from Mills to Saunderson.

Artwork by by Issie Wan @manifestation art on Instagram

“We live in a city that’s very industrial – we’ve seen the decomposition of this city and we’ve been able to relate that into what we’ve done with our music”, proclaims Detroit techno pioneer, Carl Craig. Although we commonly associate techno with Europe (illegal UK raves in the ‘90s or the dark, militant atmospheres of Berghain and Tresor), it was really the work of Juan Atkins, Derrick May, and Kevin Saunderson fusing the soulful, neighbouring Chicago house, with the synthesised space-age sounds of European synth-pop – most notably Kraftwerk – to create what we know today as techno. They were responding to the decline of Detroit as a result of Reagan-era inner city recession: industrialisation, mechanisation of the workforce, unemployment, oppression, and frustration had plagued the motor city since the early 1980s, and techno was seen as the answer to all of the injustices they faced; “lost our anger, and gained our passion”, as Derrick May wholeheartedly declares. 

It is impossible to disaggregate Black people and Black communities from music, and in dedication to Black History Month – with continuing, abhorrent acts of racial violence, police brutality, and the disproportionate impact of the Covid-19 pandemic on Black communities – it is important that we celebrate the monumental contributions Black people have made to music. The global phenomenon of techno as we know it today (those familiar names like that of Nina Kraviz, Peggy Gou, Charlotte DeWitte) would not exist without the sacrifices and genius of Black communities. With that in mind, I’d like to introduce several of the essential Detroit techno artists and recommend a few of their best tracks. 

Juan Atkins

Known as the “Godfather of Techno”, Juan Atkins single-handedly – with his Korg MS-10 synthesiser – gave rise to Detroit techno. Adopting a more experimental sound, he paired an erudite understanding of raw emotion and energy and combined it with the machinery of the time to create a futuristic, advanced sound. Under the moniker Model 500, he founded Metroplex records, and released the seminal Detroit techno track: “No Ufo’s” (1985). Sporting a pacey 130 beats per minute, the track perfectly balances rhythmic complexity with melodic brilliance; the Roland 808 cowbell, hi-hats, and snares are expertly sequenced to leave the listener no choice but to get up and move, conjoined with a sonorous, almost extraterrestrial synthesised bassline that is syncopated at all the right corners.

Recommended tracks: “Game One” (1994), “Thought Process” (1998), “Sound of Stereo” (1987)

Kevin Saunderson/Inner City

As part of the Belleville Three, alongside Juan Atkins and Derrick May, Kevin Saunderson developed a more house-oriented sound than his peers. Pairing up with vocalist Paris Grey, he formed the group Inner City and released some of the most classic, recognisable tracks of electronic music. “Good Life” (1988) was like nothing else that came before it. Coupling a bit of reverb and a lot of delay, the track prances around the same electrifying four, jazzy major-seventh and major-ninth chords, aided by angelic vocals and bound together by the punchy Roland 909 drums. Inner City’s piece of sonic mastery and minimalism influenced house and techno tracks for years to come. As Paris Grey put it: “The ‘80s had been very hard for people: 'Good Life' and 'Big Fun' tapped into a feeling that things were getting better” – establishing a different, more uplifting tone within the Detroit techno paradigm. 

Recommended tracks: “Big Fun” (1988), “Pennies From Heaven” (1992), “And I Do” (1989)

Robert Hood

“My whole idea about minimalism is that I wanted to create rhythms, inside of rhythms, inside of rhythms… it was hypnotic, it drew you in”, says Robert Hood when asked about his philosophy behind minimal techno. Acting as a trailblazer with the release of his album, “Minimal Nation” (1994), he pioneered minimalism in techno: stripping away all traces of disco, funk, and house, and focussing instead on one, two, or three key elements within a track; acting somewhat as a blueprint for much of his later releases. Armed with a Roland Juno 2 keyboard and a humble Akai XR20 drum machine, Hood “had that chord sound and a particular pattern”: “I realised I didn’t need anything else. In order to maximise the feeling of the music, sometimes we have to subtract.” With an assertive 909 kick drum leading the charge on each track, Hood draws a fine line between noise and aural bliss: masterfully synthesising jazzy chord structures and sound profiles that are reminiscent of Herbie Hancock’s “Textures” (1980). One would think the sequences sound off is on the brink of becoming eerie and uncomfortable; but it is that – coupled with the pervasive loom of the hi-hat and ride cymbal – that trances the listener into movement. 

Recommended tracks: “Museum” (1994), “And Then We Planned Our Escape” (2008), “Save the Children - Detroit Mix” (2020, as part of Floorplan with Lyric Hood)

Jeff Mills

Known as “The Wizard” for his technical brilliance as a DJ, Jeff Mills and Robert Hood were part of the second generation of Detroit techno artists; and Mills himself was responsible for deriving a more aggressive sound from the genre. Tracks such as “The Bells” (1996) or “Step to Enchantment” (1993), signified a drastic turn to a grittier, four-on-the-floor, thump and clap paradigm. It was a much rawer and militant approach to the genre – including distorted and heavily reverberated kick drums, piercing hi-hats, and haunting synths and stabs – all held together by an erratic, yet cohesive soup of rhythms. Mills is one of the most impressive and virtuosic live performers in electronic music. His famous “Exhibitionist 2 Mix 3” is testament to this: creating a rhythmic track entirely on the Roland 909 drum machine, on the spot, with no headphones or prior arrangement.

Recommended tracks: “Late Night (Mills Mix)” (1993), “If (We)” (1999), “L8” (1999)

This article is published as part of In The Mix series, written by Pi Media music columnist Austin Lam.