Good Techno Still Exists
a.k.a. In a time when the genre's classic sound is frequently written off as stodgy and unimaginative, it's worth noting that quality tracks can still be found—if you know where to look.
Techno is in a weird place right now.
On the one hand, the genre is arguably more popular than it’s ever been, to the point where its biggest stars can now routinely be found In Ibiza, Tulum and pretty much all of dance music’s most commercial hotspots. Even a gargantuan festival like Tomorrowland, which last year drew 400,000 people and for years has been Europe’s premier assemblage of EDM theatrics and stadium-ready trance, has populated its 2024 line-up with a sizable contingent of techno artists, including several with long histories in the genre’s more “underground” corners.
The term “business techno” is often credited to a 2018 tweet from Guy Brewer (who at the time was still making music as Shifted, but has since adopted a different moniker, Carrier). In the years since then, it’s become a sort of generic descriptor thrown at anyone—including many artists who don’t actually play or make techno—who seems to be promoting themselves in a soulless, blatantly commercial, style-over-substance fashion. In that sense, it’s a sort of successor to the term “sellout,” but the irony is that as techno continues to grow on the global stage, “business techno” becomes less of a pithy insult and more of accurate assessment of where the genre sits in the contemporary electronic music landscape. Techno might have started in Detroit, where the city’s marginalized Black, brown and queer communities first brought it to life, but in 2024, it’s big business.
Not surprisingly, that’s prompted something of a backlash. While techno can still be heard in plenty of supposedly “underground” scenes and spaces, the variant that’s gained the most traction in that world post-pandemic is far faster—and goofier—than what the genre has typically sounded like during the past 30+ years. Can a 150 bpm remix of the Vengaboys still be classified as techno? I’ll leave that debate to the angry dudes on Reddit and social media, but I do think it’s fair to say that during the past few years, it’s been a lot easier to spot young DJs wearing Underground Resistance t-shirts than it has been to hear them actually playing Underground Resistance records.
That kind of intergenerational posturing happens with all genres—think about how many teenagers are wearing Nirvana and Tupac Shakur tees these days. (This isn’t a new phenomenon; when I was in high school, an inordinate number of kids were rocking Rolling Stones and Led Zeppelin shirts on a regular basis.) Young people may want to worship the icons of the past (sometimes solely for fashion purposes), but that doesn’t mean they want to straight-up repeat what their elders did. They’ll pick and choose the bits they like while casually discarding the rest, and if that upsets prior generations, it’s almost like a bonus.
In the realm of techno, this explains why many young DJs still desperately want to play at places like Berghain, but then make a point to publicly boast on social media about how they went in there and played anything but techno. The traditional form of genre, at least in its present state, just isn’t that cool right now, and has come to represent a certain stodginess that’s long been present in electronic music circles. Add in the fact that contemporary techno’s most successful artists overwhelmingly tend to be white, male, straight and European (or British), and it’s no wonder that so many of dance music’s newer arrivals are either steering clear of the genre or looking to subvert its norms altogether.
This, predictably, has left techno purists—especially those whose involvement predates both the pandemic and “business techno”—feeling somewhat adrift. While their most vocal ire is usually directed at Zoomers, whose gabber-adjacent pop edits and endless social media preening they see as ruining dance music, it’s not like they have much love for the Ibiza circuit, or the faceless, funk-free strain of techno that’s become increasingly popular in that sphere. If you’re a “serious’ techno fan who first fell in love with the genre at warehouse raves, relatively intimate clubs or even at a place like Berghain (before it was added to the to-do list of seemingly every single tourist who comes to Berlin), you’re most likely not longing to go to a Circoloco party or spend a night at Drumsheds, the 15,000-capacity London nightclub that opened last year in building that formerly housed an IKEA. Regardless of who’s playing, something about techno gets lost in those environments, and on a purely practical level, only certain kinds of tunes are going to work with crowds of that size.
That sort of big-room fodder is all over Beatport’s various techno charts, which is probably why their contents are often more functional than genuinely interesting. Bandcamp should, in theory, dig deeper and provide a more compelling snapshot of what’s happening with the genre, but the site’s list of techno best-sellers mostly turns up releases that were improperly tagged as being part of the genre.
What about the actual music press? Surely they are still making an effort to highlight the good stuff, right? As it turns out, not really. Resident Advisor is the only major electronic music outlet still publishing reviews in bulk online, although the word “bulk” ought to be taken with a grain of salt. When the site’s genre filter is set to “techno,” RA averages about five album reviews per month, while the monthly complement of single reviews is usually somewhere between six and twelve. That’s not bad, particularly during a time when reviews have largely ceased to be reliable drivers of web traffic, but scanning RA’s offerings does reveal another issue: much of the “techno” section is devoted to releases that are only tangentially connected to the genre.
As with Bandcamp, some of that can be chalked up to improper tagging, but it’s also a natural byproduct of a music ecosystem in which hybridity is increasingly the norm. Pushing against established boundaries is something musicians have done for decades, but during the streaming era, when most people have easy access to almost everything, that subversive impulse has gone into overdrive. Fewer and fewer contemporary artists are doing “just” one thing, let alone one sound, and in a time when genres seem more fluid than ever before, it makes sense that RA’s techno reviews would be populated with everything from UK bass mutations to jungle deconstructions and quasi-ambient compositions.
At the same time, by choosing to devote its relatively limited resources to these hybrids, RA—and the electronic music press in general—is implicitly sending another message: “traditional” techno isn’t all that interesting or innovative anymore. And on a macro level, I can’t say that I disagree. Speaking as someone who routinely goes through 100+ new releases each week, and is often sent hundreds more, I feel pretty confident in saying that most contemporary techno is pretty goddamn boring.
“Most,” however, is the key word there. From a creative standpoint, techno might be lost in the wilderness right now, but that doesn’t mean quality tunes aren’t still being made. To prove my point, I’ve assembled a list of some of my favorite new-ish techno tracks, all of which dropped during the first six months of 2024. They come in various shapes, speeds and styles—fast, slow, dark, melodic, soulful, sci-fi, etc.—but they’re all proper techno cuts; those hoping for bass hybrids, trance flirtations, booming breakbeats or repurposed dembow riffs should look elsewhere.
Are some of my selections objectively derivative, or at least highly reminiscent, of techno’s more celebrated eras? Probably. But considering how much electronic music on the whole routinely feels like one big recycling plant, there are worse crimes than artists referencing the likes of Jeff Mills, Robert Hood or whatever other techno icons they find inspiring. (That being said, I do wish that the genre was less of an overt sausage fest; gender equality is still a long way off in the techno realm, which of course doesn’t help to make it more attractive to younger generations.)
“Traditional”- or “classic”-sounding techno may not be en vogue right now, but it’s far from dead. Finding the good stuff isn’t always easy, but for anyone who needs help knowing where to look, these tracks are a solid place to start.
Peder Mannerfelt “Flash My Flip Phone” (Peder Mannerfelt Produktion)
Though he’s anything but a genre purist, Peder Mannerfelt can still make a proper techno banger. The fun-loving Swede claims that this tune was entirely recorded and mixed on an old flip phone, but regardless of whether or not that’s true, the track’s cheeky assortment of retro dial tones is awfully fun, and its chunky groove injects even more energy into the festivities. Aside from being a playful romp, “Flash My Flip” phone is a great reminder that “serious” techno doesn’t need to be a total bore.
Wata Igarashi “Collision” (WIP)
With releases dating back more than a decade, Wata Igarashi is no newcomer. Even so, the Japanese producer has rapidly ascended the techno ladder in recent years, and currently stands as one of the genre’s most consistently thrilling artists. He’s also remarkably versatile—some of his best work has come in the form of long-form ambient meditations. The raucous, perpetually building “Collision,” however, showcases Igarashi in maximal mode, its confident strut capable of crashing into any party and taking things up a notch.
Ryan James Ford “Bellmarsh” (Clone Basement Series)
It’s rare that more than a few months go by without a new Ryan James Ford release, but the Canadian producer—who’s also a resident DJ at Tresor—has the skills to back up his prolific work rate. “Bellmarsh” led off this year’s Tower Hamlets EP, and it instantly barrels into the abyss, its lean rhythm and trippy atmosphere seemingly headed toward the nearest black hole.
1morning “Groove La Funk” (Self-released)
Only 25 years old, 1morning is quite likely the youngest artist on this list, which only makes his mastery of old-school techno techniques all the more impressive. The opening cut of his Legacy EP, “Groove La Funk” is a space-age slice of hardgroove, its speedy, swinging gait buffeted by dubby chords and a bassline that’s funky enough to make Nile Rodgers jealous.
Sciahri “One Letter” (Sublunar)
Another entry in the neo-hardgroove canon, “One Letter” is the muscular opener of Sciahri’s brilliant Pareidolia II EP. While the Italo-Iranian has slathered the cut in reverb, giving it a kind of smudgy, sci-fi feel, his pulsating rhythms never get bogged down in the muck. The song charges—or, better said, sashays—ahead, its rubbery swagger inviting everyone in earshot to hop aboard and come along for the ride.
Dave Angel “May I Have This Dance” (Rekids Special Projects)
When searching for high-quality “traditional” techno, it not surprisingly makes sense to check in with the artists who’ve been doing their thing since the early days of the genre. Dave Angel has more than 30 years of releases under his belt, and the rollicking “May I Have This Dance”—the B-side of the UK producer’s recent Revolt EP—is up there with the best of them. Though it’s built atop some truly thunderous drums, it’s the song’s siren-like wail that proves most invigorating.
aadja “post natal drip” (trip)
Fast techno has (quite understandably) gotten a bad rap during the past few years, but “post natal drip”—which clocks in at 150 bpm—makes clear that an increase in velocity doesn’t have to be accompanied by a decrease in IQ. A highlight of the Canadian producer’s pyrocbs album, the track is a high-octane grinder, its exhilarating whir seemingly intent on drilling into the Earth’s crust and feverishly digging until it pops out on the other side of the planet.
Regent “Aphid Riot” (positivesource)
The post-pandemic era has produced a whole lot of “techno” that in reality is just trance in disguise, but “Aphid Riot”—the title track of Regent’s most recent EP—walks the line between those genres without descending into full-blown camp. That doesn’t mean it’s a dour affair; on the contrary, the pitched vocal clips and floaty melodic flourishes bring some welcome lightness to the proceedings, and that smiley-faced energy remains throughout, even after the Berlin-based producer drops the hammer in the song’s latter half.
D.Dan “Rising” (summerpup)
While he’s far from the first techno producer to make something that sounds like a souped-up EKG machine, D.Dan has infused the bleepy “Rising” with his own hypnotic magic. His music—including the stuff he made under the name Fugal, when he was living in Seattle and was part of the secondnature collective—has always had a uniquely spellbinding quality, and now that he’s in Berlin, he’s continued to plumb the depths of the dancefloor unconscious. On “Rising”—the opening track of his sequence.01 EP—he just happens to do it with a groovy rhythm that recalls some of Robert Hood’s funkier outings.
Skee Mask “Double Standard” (Ilian Tape)
When 2024 comes to a close, it’s likely that most of the talk about Skee Mask will focus on the beloved Munich producer’s Resort album. But where that LP was largely devoted to a tranquil zone away from the dancefloor, the ISS010 EP, which arrived just a few months earlier, was perhaps the most purely techno release that Skee Mask has ever done. “Double Standard” is one of the record’s sleek standouts, a propulsive, percussion-driven cut that swaddles its sturdy drum programming in dubby textures and cloud-like pads.
Human Space Machine “Lyf” (Nous’klaer)
It’s not easy to make acid sound fresh in 2024, but Human Space Machine put those familiar tweaks and skronks to excellent use on “Lyf,” the high point of his recent Mopo EP. Dark and driving, but never ominous, it’s a subtly funky gem, one in which the Amsterdam producer lets his machines work their crunchy magic as he confidently glides across the dancefloor.
Ignez “Veiled Dreams” (Token)
Following an impressive run of EPs, including a series of collaborative records with techno stalwart Rødhåd, Ignez solidified his standing as one of techno’s brightest new talents this year with Tides, his debut full-length. LP standout “Veiled Dreams” is a somewhat restrained cut, albeit one that’s still rather robust, but it’s also a showcase of the Berlin-based producer’s tasteful flair for the dramatic, the song’s eerie melodies and string flourishes giving it an almost cinematic quality.
Lacchesi “Someday” (Maison Close)
Admittedly, many of the names on this list will likely ring familiar to First Floor readers, but Lacchesi is someone I’d never heard of before his Based on a True Story LP landed in my inbox. It’s not even a techno album, but “Someday” fits right into the genre’s usual confines. Evoking melancholy while marching along at 150 bpm isn’t easy, but the Paris-based Italian does exactly that, combining lovelorn vocal clips with an impishly bopping beat.
DJ Hockey “Restraint” (Fixed Rhythms)
If there’s one new-ish American outpost that’s reliably carrying the torch for “classic” techno sounds, it’s Oklahoma City’s Fixed Rhythms—which, for what it’s worth, has also made itself a home for high-quality house music. DJ Hockey’s Push:Pull EP was largely an excursion into techno’s subterranean depths, and that journey proved most rewarding on “Restraint,” a track whose muted tones and nuanced sensibility—the most outlandish element is an elegantly fluttering synth melody—are buoyed by a steady percussive pulse.
Claudio PRC “Monotex” (Delsin)
Speaking of deep techno, few artists are doing it better these days than Claudio PRC. “Monotex”—a highlight of his recent Golden Scales EP—takes an almost proggy approach, weaving together a swirly, psychedelic tapestry as the song’s metronome-like beat calmly cruises toward the cosmos. Tracks this dense rarely feel so weightless, but it seems that this Berlin-based Italian does his best work at zero gravity.
Marco Shuttle “On a Razor’s Edge” (Marco Shuttle)
Having spent much of the past few years exploring the outer edge of the dancefloor, Marco Shuttle returned his focus to the club on the MSP01 EP. And though opening track “On the Razor’s Edge” is still significantly weirder than most modern techno offerings—its gurgling riff sits somewhere between old-school acid and a manipulated didgeridoo—its psychedelic soup has been paired with just enough stomp to get even the squarest of ravers moving their feet.
Deetron presents Soulmate “Filter Dub” (Ilian Tape)
For fans of melodic techno, Deetron has long been hailed as a hero, but his Soulmate project charts a more soulful, percussion-centric course. “Filter Dub” closed out his recent Drone EP, and it eschews melody almost entirely, its shuffling rhythm and stabbing piano chords taking cues from the house playbook of ’90s New York. What results is a refreshingly organic tune, one that ditches the usual sci-fi sheen of most techno for something that feels more immediately human. Maybe there’s a lesson to be learned in that.
Shawn Reynaldo is a freelance writer, editor, presenter and project manager. Find him on LinkedIn and Twitter, or you can just drop him an email to get in touch about projects, collaborations or potential work opportunities.