Techno, a form of computer generated music, exploded into the forefront of the music world in the late '80s in Detroit. It has spread all over the world, even to the sleeping town of Hanover and the Dartmouth campus.
Techno music has is origins in the underground Disco scene of the '70s. When disco became inundated with the likes of the Bee-Gees and John Travolta, the music's original supporters were appalled and searched for an underground scene. Thus the music genre "house" was born.
Frankie Knuckles, who first mixed disco rhythms and progressions on turntables and an electronic mixer, is the man unusually credited with the creation of house music.
The Chicago-based house scene migrated to Detroit in the mid '80s, where it sped up and acquired a new, dark edge. Thus techno was forged. The music caught on quickly, and soon dozens of world cities acquired their own scene.
Indeed, the instruments used in composing techno more closely resemble Buck Rogers paraphernalia than traditional instruments. Keyboards, drum machines and digital mixers are the predominant tools at the disposal of techno composers.
Thus there is a futuristic, forward looking aspect to Techno music. Yet its roots in disco make it accessible and easy to dance to.
Techno music has a bewitching effect on its listener, the sounds alien and surreal to those used to the tone and timbre of conventional instruments.
When played in a dark room with a strobe light, the effect is truly other-worldly, and revellers can lose themselves in the music for hours on end in trance-like ecstasy.
The music has always attracted the less accepted members of society. "Techno has always been big amongst gay and multi-racial people. It was started by those who were rejected by the majority rule," says Brian Cina '98, one of Dartmouth's techno disc jockeys, who spins, or mixes, techno records live.
Panarchy, an undergraduate society, is the house that has become the center of the techno scene in Hanover. Located on 9 School Street, the house is actually reputed amongst those in the know as having a talented, dedicated collection of DJs.
Occasionally, Panarchy will host a large event with techno music, known as a "rave." Most weekends, however, the Dartmouth DJs will spin for smaller crowds of College students.
Techno DJs are adamant, however, about separating techno music from the rave culture that has sprung up around the world.
"The rave scene is going down -- it's becoming more commercialized and drugs are taking over," said Hein Koh '98, another techno DJ at Dartmouth.
Indeed, drugs have always been a part of techno. While in the '80s and early '90s the drugs of choice were XTC (also called "e" or "x") and LSD, of late, connoisseurs have switched over to PCP, ketamine, crack and cocaine.
"I actually find the scene pretty disgusting, because drugs and fashions have become more important than the music," Koh commented.
But the rave culture has little to do with the DJs, the people who care about the music form.
"Raves are a fad, but their will always be DJs," Cina said.
Indeed, each city with a sizable techno scene, such as New York, San Fransico and London, has its own distinct tradition and styles that go back to the late '60s when motown and soul became underground disco.
Cina sees techno as an alternative activity for people who may not feel comfortable with the traditional social setting at Dartmouth.
"The reason techno is underground is because Dartmouth has a lot of creative, artistic people who don't fit in to the College's oppressive mainstream," he said.
As to the future of techno, Koh and Cina are uncertain. New technologies are constantly being offered to the voracious DJs, and old staples of the DJ's tools such as drum machines and mixers are constantly being upgraded.
"I am moving towards more freedom and more expression in my music," Cina said.
"Whatever techno's future, it seems clear that computer generated music is a form of art with limitless potential for creative ingenuity and emotional expression," he said
Koh explained that the music is important and carries religious significance for her as well as other listeners.
"The music is what we worship, and the DJs are the preachers who send this 'message' out to the dancers, in order to bring them to spiritual transcendance," Koh said.
