Detroit is the birthplace of many things, much of it stemming from the advent and progressions of technology. Henry Ford, of course, manufactured the first automobiles in the city and developed the assembly line. As a result, Detroit had the first paved roads, the first expressway, and even the first tri-colored traffic light. During World War II, many of the manufacturing facilities were retooled to build weapons, tanks, and planes for the military. With its large working-class residency, Detroit had the labor, skills, and resources to play a pivotal role throughout many historical periods.
When speaking about Detroit’s history, one cannot overlook the contributions to music. It’s probably fair to say that most people think of the storied Motown era as the city’s premier musical gift to the world. With artistic greats like Marvin Gaye, Diana Ross, and Stevie Wonder, and groups like The Temptations, The Supremes, and The Four Tops, the Motor City is synonymous with the Motown music label and sound.
If you dig a little deeper, however, perhaps go further down – underground even, you’ll find the birthplace of techno.
Techno-music was born from the ashes of a majestic city’s struggle to redefine itself. It is a raw and uninhibited sound that embodies the emotion and energy of the era from which it arose. Much like the industries that preceded it, technology played an enormous role in its creation and production. Hence the name “Techno.” Electronic synthesizers, sequencers, and drum machines became the instruments of this emerging sound. Often recorded and performed on vinyl records, it has a rhythmic four-on-the-floor beat structure that seduces the listener. Techno was composed much like its close relatives: Disco and House music. However, it was a little darker, a little faster, perhaps a little simpler, and much more intense.
People worldwide will argue about who is the best, the most influential, or the most innovative, but few will dispute the pioneers of modern techno music. Perhaps you have heard these names. Juan Atkins, Kevin Saunderson, and Derrick May, otherwise known as the “Belleville Three,” inspired by the electronic sounds of Kraftwerk, among others, gave the gift of techno to the world. In fact, it was Juan, who, with his friend Rick Davis, produced one of the most famous early releases, “Alleys of Your Mind,” under the name Cybotron in 1981. These legendary men inspired a sound and a movement that would grow globally and define its place in music history.
It's important to mention that the pioneers of Detroit’s underground music scene are black. In addition to Juan, Kevin, and Derrick, you had Eddie Folks, Jeff Mills, and Mike Banks, who joined in the movement. You also had Carl Craig, Robert Hood, and many others. It started as an evolution in black music for black people. Today’s youth may not be aware of this. However, because the power of the music was so influential, and there weren’t generally lyrics telling a specific story, the music gained favor among a range of ethnicities, social classes, and age groups. The beauty and genius of the music is that anyone can relate to it. Anyone can dance to it. Everyone can fall in love with it, and in Detroit, they did.
The 1990s are largely considered the Golden Age of techno music and the underground rave scene. It was a transformative time that changed people’s lives and is revered by artists, fans, and historians. In Detroit, large automotive factories that once changed the world now housed a community of people more interested in escaping from it. Every weekend, sometimes all weekend, thousands of young people from in and around the city would converge into one or even several party locations and dance their struggles away to futuristic music that most people, shall we say above ground, did not know existed.
In the early 1990s, what is commonly revered as the “second wave” of techno artists from Detroit was gaining momentum. While the pioneers were touring and spreading the music by DJ’ing worldwide, in Detroit, others were filling the void.
Two other names synonymous with the underground in Detroit are Richie Hawtin and John Acquaviva. Both men lived across the Detroit River in Canada. John was a DJ who was struggling somewhat when he met Richie, a young and immensely driven techno artist who drew great inspiration from the Detroit sound. Together, they embarked on a transformative journey that led to some of the most historical underground parties still discussed today. And while they were at it, they formed the infamous Plus 8 record label, a label aptly named after the highest speed of playback on most turntables, +8%.
As young white men, Richie and John were not immediately accepted in Detroit’s underground scene. To many, it was yet another example of white people taking credit for something created by black people. The fact that both were inspired by the sound didn’t matter. The fact that they had access to more financial resources did. Richie's parents believed in his pursuits and supported his endeavor. They were even present at many of his underground events. Richie and John were viewed as privileged, and perhaps they were. In the end, however, it was respect for the talent of Plus 8 and the creativity of their underground events that gained them the acceptance they so desired. Their reach brought more people into the scene and, therefore, more money. By the late 1990s, the underground scene in Detroit was bursting at the seams. On any given weekend, multiple promotion companies were throwing large-scale parties at Detroit’s most infamous warehouse locations.
One location that is known worldwide is Ford’s former Packard Plant on the East Side. This massive complex came to signify Detroit’s economic decline, as it closed its doors decades before the underground scene made its home there. Once covering nearly 80 acres, it contained endless open rooms and narrow corridors on several floors. Parties were held all over the complex, though some areas became preferred. At that point, the Packard came to signify new technology in the form of music. Today, it holds historical significance for both.
Although considered unfortunate by the older generation of ravers, it was inevitable that the scene would evolve beyond its abandoned accommodations and move into a more mainstream environment. Perhaps nothing can stay secret forever. One thing that forced this transition was the Reducing Americans' Vulnerability to Ecstasy Act, or RAVE Act, passed in 2002. The bill essentially made it harder and made promoters more liable for knowingly promoting events where open drug distribution and consumption takes place. And, unfortunately, the Detroit underground music scene and the global scene became notorious for this. Some would say it was as much a part of the community as the music. Many young people paid the ultimate price for this.
If there was a silver lining, economically speaking, a new industry emerged. Techno clubs began opening in Detroit and around the country. The clubs sold alcohol to make themselves look less like rave parties, which rarely sold it. For old-school ravers, alcohol was considered taboo. Although clubs did not stop drug abuse, they made it less obvious. Over time, the rebellious and futuristic feeling of the underground scene began to fade. Clubs began promoting themselves, and a wider audience became attracted to techno music. Some people will say this changed the music itself. Perhaps it did, but what remains is the love for it.
You’d be hard-pressed to find music fans more emotionally connected to their music. Ironically, a legendary club that existed during the 90s in Detroit (Hamtramck specifically), the Motor Lounge, closed its doors in 2002. You could say this was the nail in the coffin for Detroit’s Underground scene, except it wasn’t. It simply transformed. Clubs like The Works, Bleu, and Pure opened their doors to feed the raver's appetite. Soon after, more than half a dozen followed. The competition became fierce, and over time, the clubs did a great job of emulating the vibe of the former warehouse scene. Several clubs are around today, and we’ll get to them in a moment. But first, Techno Christmas.
Beginning in the year 2000, and for more than twenty years running, the Movement Electronic Music Festival has been a global attraction during Memorial Day weekend in Downtown Detroit. World-renowned electronic music artists perform every year, with an emphasis placed on techno. The production company, Paxahau, a long-time techno event promoter in Detroit, pays tribute to the honorary pioneers by featuring them in the lineup.
Perhaps this was the future the old ravers were marching toward, a time when techno music was no longer underground but was loved by the masses. Every year, Detroit literally lights up with this multi-stage event in the city’s famed event space, Hart Plaza. Today, the production is nothing short of world-class, with corporate sponsors, massive stages, and sound systems that can be heard for miles around.
Of course, in true Detroit fashion, there are “after-parties” at clubs and warehouse venues all around the city. Many artists who perform at Movement are booked for these events. It’s also an opportunity for many local artists to acquire more recognition. These parties, like the days of old, go well into the next day. Many go until and even beyond the festival’s start time. For those die-hard fans, old and new, you can submerge yourself into the rhythm for several days. It’s often referred to as “Techno Christmas” in Detroit, and frankly, it would be difficult to surmise a better analogy.
If you’ve read this far, then perhaps you are curious about where to go to experience Detroit’s Underground yourself. Well, as luck would have it, you don’t have to go far. The clubs in the city today are exceptional, and this list is in no particular order:
TV Lounge
Bleu Detroit
Marble Bar
Leland City Club
Spotlight
Exodus
Northern Lights
Tangent Gallery
And more!
We’ve spoken much about the pioneers of techno music and Detroit’s underground. But here we are, well into the 21st century. On occasion, you will catch the pioneers at various clubs and venues. You will also find those making waves in the city today. Here is a list of talented Detroit performers, old and new, that you wouldn’t want to miss on any lineup.
Detroit Techno Militia
Stacey Pullen
Ataxia
T-1000
Project 313
Claude Young
Asher Perkins
Marshall Applewhite
Henry Brooks
Gabi
Stacey Hotwaxx Hale
Underground Resistance
D-Wynn
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