Why HOUSE music is NOT TECHNO music

The birth of Techno music is often attributed to an isolated DJ in the slums of Detroit while it’s counter-part, “house music” is attributed to an isolated DJ in the clubs of Chicago. Both alleged movements describe their music as the definitive origin of modern Electronic Dance Music. These distinctions are often very divisive among aficionados of electronic music. However to divorce both techno and house from the origins of Hip-Hop is doing a disservice to the pioneers of the techniques that would evolve into the diverse strands of EDM music techno-nerds constantly fighter with each other over on the interwebs to this day.

This is an analysis of the evolution of the terms as they relate to the styles of music we have today. This is all from the perspective of a lonely DJ whose understanding comes from the studying of the roots of the movements, independent of any agenda, or even more importantly, ties to a movement.

The claims go as such. Someone in Detroit was mixing disco records with electro records and developed this into the musical style techno-nerds will call “techno” music. The so-called attributes of the music are singled out as they are defined solely by how closely they resemble the benefactor with no regard to the reality of the techniques being developed for nearly a decade previously by DJ’s in the Bronx, Southern L.A. as with elsewhere. The so-called purists make every attempt to white-wash Techno music by making the claims it strictly evolved out of the ashes of the discothèques from the late 70’s who’s audience had moved on.

The addendum to this alternate reality account of the rise of the dance music disregard the techno moniker entirely, going out of their way to stringently insist it only applies to a very narrow, very precise set of rules determined arbitrarily by the followers of a cult-like DJ who they credit with creating, what they refer to as ‘house’ music, which bears a striking resemblance to the music the uninitiated refer to as ‘techno’, which they deem either unworthy or inferior to their beloved house term. Both sides equally ignore the development of the music Hip-Hop DJ’s were doing elsewhere, while simultaneously accrediting, incorrectly, developments to DJ’s who severe ties with the urban roots of Hip-Hop. This is not to say the author himself believes white washing is inherently a sin. However, in the context of the evolution of electronic music, it is a disservice to blatantly neglect the work of the ghetto disc jockeys and their obnoxious rhyming emcees who popularized the music being created by mixing records on turntables. This, in fact, requires a serious bending over backwards on the logic of those holding to the false narrative.

Thus it is now THE RAT, who shall bear witness the truth of the birth of electronic music, henceforth correctly identified as Techno for all purposes. Partially based on the erroneous neglecting of the connection to Hip-Hop music the cult followers of the Detroit/Chicago narrative stubbornly adhere to. Also partially birthed in the fact that words actually matter but only in that they are defined. Consider this. Rock N Roll music is the bas moniker for Hard Rock, Punk Rock, Heavy Metal and Speed Metal. Yet, none in the rock community disregard the black roots of their music. The undeniable reality is Rhythm And Blues, born out of the same ghettos that would give rise to rock n roll, bears little sonic resemblance to modern rock n roll to the uninitiated. Still, those who can rightly follow the path from blues to rock to metal ought to also be able to follow the same path from R&B, to funk/disco to Hip-Hop/Techno. It’s not exactly rocket science. Of course ignore the obvious auditory similarities still requires one to disregard the science of linear time. That is, Chicago House and Detroit Techno could not exist in a vacuum with no ties to the developments of electronic music taking place in the Hip-Hop community. Rather it allows certain individuals to disconnect their beloved ‘European-based’ music from the taint of American urbanism. That is to say, a narrative that proclaims techno or even house, began in the white suburbs of the Midwest completely ignores the existence of the disc jockeys mixing disco and funk records into what would become colloquially as rap music.

Disco music itself was a white-washing of the funk music being produced. There are two different paths which interconnect, dissect and reconvene throughout. The short version is this. Funk was stripped of its hook and verse, reduced to the simple break, then mixed with another break, layered upon with scratches, 808 drum beats and other elements to become Hip-Hop music, one of the four elements of the Hip-hop culture.

Disco music began winding down in the cities as rock n  roll was making a resurgence. Clubs and radio waves were cluttered with New Wave bands and imitators who were mixing pop, rock and electronic music to form the basis of the synth pop that dominated the decade. Eventually disco was also stripped in a similar fashion and also layered as funk was being turned into Hip-Hop, disco underwent the same process becoming what those who are not afraid of the cult followers simply call techno. Techno music became an offensive term as it was entered into the lexicon and became short-hand for all electronic produced music. Thus in retaliation the cult followers began impressing upon society an effort to restrict the usage of the term until such time as nothing left could be classified as “techno”, they were so offended by the utterance of the word they not only cringe upon hearing it they shift into belligerent attack mode in an effort to contort history to belittle the pour soul who elected to mistakenly use the word they fear so much. Thus the re-writing of history ensues in an on-going barrage of misinformation used to scare people into accidentally using the wrong term. Coupled with a culture born from being as Politically Correct as humanly possible and this fear of words limits their ability to express themselves without accidentally offending those who adhere to the cult.

This is the truth. Electronic music created using the same methods as Hip-Hop, be it old school turntables with mixers and the like, or combined with synthesizers or even created using loops, if it is in fact electronic and is produced in the same manner at all, as in NOT by playing of actual instruments to create new, original compositions, it is in fact Techno. House music does not exist in the mind of this technophile. It is a make believe term retroactively applied, falsely to a genre of music whose very existence has been under attack by the cult of a single DJ from Chicago.

All of this can be proven by listening to a handful of Hip-Hop acts Break Dancers cling to, mostly who fall under the banner of Electronic Funk (a cousin of Hip-Hop) which is what the cult of house followers will point to, falsely, as what they call ‘Techno’. If one listens to Soul Sonic Force “Planet Rock” and calls that ‘techno’ then listens to TECHNOtronic and calls that house, dismiss their unsound logic and believe the truth, Techno is what they cult of house refuse to utter for some weird hang up. Techno Syndrome is not even correctly label a “techno” song on wikipedia because the cult of house are hard at work scrubbing all references to the word, even when used itself by those making the music. They adhere to a false doctrine perpetuated by a lie to hold up their weird, twisted belief that some disco DJ sitting in Chicago was somehow insightful enough to create his own style of music with absolutely NO prior knowledge of what was already being done elsewhere in the country at a time when radios and MTV were prevalent. Let the haters bring their wrath upon the one delivering the truth. Stay cool friend.

–THE RAT

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