Techno Music Quotes

We've searched our database for all the quotes and captions related to Techno Music. Here they are! All 42 of them:

The bar staff and croupiers all wore black with the same green triangle logo emblazoned on their shirts, and contact lenses which made their eyes shine an eerie, vibrant green. The bar optics glowed with the same green light, the intensity of which was linked to the music. As the bartender walked away to fetch the drinks, a breakdown in the techno track commenced and the bottles began to palpitate. The bartender's eyes glowed with a hallucinatory felinity that made Mangle feel nervous.
R.D. Ronald (The Zombie Room)
You have to feel the mix and you have to feel the work and the sweet somehow which somebody is investing in that moment in the way that you can really feel the passion.
Tobias Thomas
We were so awkward, morning pimples in the mirror, hair where we never wanted it, and we thought of the lung cancer X-ray that was the album art for Surfin' Safari, considered the ways a body betrays its soul, and wondered if growing up was its own kind of pathology. We fell in and out of love with fevered frequency. We constantly became people we would later regret having been.
Anthony Marra (The Tsar of Love and Techno: Stories)
I am Lulu Deerdancer and I am twenty-nine years old and I am perfectly legal to enter this here homosexual establishment and partake in beverages and repetitive techno music.” “Because you both have been here before.” “Yes,” I said. “Hmm,” the bouncer said. Then Paul sneezed and his mustache flew off his face and landed on the cheek of the bouncer. The silence that followed was slightly awkward. “Huh,” Paul said. “I guess that’s easier than shaving. It’ll certainly revolutionize the facial hair industry.
T.J. Klune (The Queen & the Homo Jock King (At First Sight, #2))
A broccoli-haired trust fund baby who makes experimental techno music to take your V-card.
L.J. Shen (Truly Madly Deeply (Forbidden Love, #1))
Oh this place is just delightful,’ replied Eric, making no attempt to disguise his disdain. ‘A bedroom that reeks of stale feet, people falling through ceilings, and German techno music deafening me. What more could I ask for?
John Marrs (Welcome To Wherever You Are)
Most girls my age don't appreciate this kind of music. In my opinion, this is real music. It's haunting, poetic, and carefully-crafted. Not that techno teeny bopper crap that only sounds good because of all the machines the record label uses to make it.
Lauren Hammond (A Whisper To A Scream (The Sociopath Diaries, #1))
Bach was the daddy: without him there’d be no jazz, funk or hip-hop; no techno, no house, no grime. He basically wrote the blueprint for everything that was to come. His stuff is wise and witty and capacious enough to contain more than just multitudes: it contains all of everything.
Clemency Burton-Hill (YEAR OF WONDER: Classical Music for Every Day)
techno boy -- seventeen years old. junior. red car. works at a restaurant. it hurts when he smiles. dandruff. computers, electronic music. seeking a girl that won't eat his heart with a steak knife.
Zoe Trope (Please Don't Kill the Freshman)
Jungle's sound-world constitutes a sort of abstract social realism; when I listen to techstep, the beats sound like collapsing (new) buildings and the bass feels like the social fabric shredding. Jungle's treacherous rhythms offer its audience an education in anxiety (and anxiety, according to Freud, is essential defence mechanism, without which you'd be vulnerable trauma).
Simon Reynolds (Generation Ecstasy: Into the World of Techno and Rave Culture)
It turned out that I really liked the music Lieke played. Techno, apparently. Which was remarkable, as I normally hated electronic music. Well, I had liked ‘Good Vibrations’ by the Beach Boys in my younger years, and that had contained a theremin, and that is technically an electronic instrument. But you know what I mean. Music that sounds like a robot having a panic attack. Bleep-bleep music. But it turned out I had been missing out.
Matt Haig (The Life Impossible)
I’d grown up with disco in the 1970s, when I just knew it as exciting pop music on AM radio. In the 1980s it died off, but still inspired everyone from New Order to Duran Duran to Kraftwerk. And then in the late 1980s the ghost of disco came back with a fury, giving birth to house music, techno, rave culture, and even a lot of hip-hop. Disco was the crucible in which most modern music had been born, and within the disco pantheon no one had ever reigned higher or more supreme than Donna Summer.
Moby (Then It Fell Apart)
Techno emerged in the early to mideighties in and around Detroit, at the hands of black middle-class DJs who for some reason idealized the glamour and suavity of European electronic pop and Italo disco, as it reached them via GQ and the radio DJ who called himself the Electrifying Mojo. They brought some rigor and a hint of Motown to it and created an industrial-sounding music that was funky, futuristic, and kind of arch—evoking the auto plants that were putting these kids’ parents out of work.
Andrew McCarthy (The Best American Travel Writing 2015 (The Best American Series))
Reputation laundering works because it’s assumed that the folks who support fine music would be less likely to commit heinous crimes than the human flotsam that frequent a honky-tonk or a techno club. Participating in the scrums and mosh pits at pop concerts must be less morally and psychologically uplifting than sitting stock-still in complete silence at the ballet.
David Byrne (How Music Works)
Another loop of influence and inspiration occurred when African musicians imitated the imported Cuban recordings they heard—which were themselves a mutation of African music. The African guitar-based rhumba that resulted was something new and wonderful, and most folks hearing it wouldn’t think it was a poor imitation of Cuban music at all. When I heard some of those African bands, I had no idea that Cuban music had been their inspiration. What they were doing sounded completely original to me, and I was naturally inspired, just as they had been. The process never stops. Contemporary European DJs were blown away when they heard Detroit techno.
David Byrne (How Music Works)
The coming together of technology, drugs, and music as exemplified in the rave scene seemed to offer a glimpse into a brave new world—a man-machine mash-up that some of the woollier theorists predicted was the future of human evolution. Made-up words such as “sampladelic” and “techno-pagan” summed up the zeitgeist.
Frank Owen (No Speed Limit: Meth Across America)
In general, dance music had long been overlooked in the US. While house music and techno had become mainstream genres in England, Germany and the Netherlands, they were still subcultures here. Of course, there had been sudden outbursts, moments when the scene had sparked – most recently in the late 90s when Brits like The Prodigy, The Chemical Brothers and Fatboy Slim had enjoyed successes on the charts.
Måns Mosesson (Tim – The Official Biography of Avicii)
Screenplay is a company that provides music videos to businesses. Music and video screens are such common attractions in city businesses that court sexual minorities that many of them subscribe to this service. Via disc-based or direct-to-system download, Screenplay subscribers pay for access to a service called “VJ Pro,” where they choose from different genres of music videos that loosely resemble radio formats: HitsVision, a Top 40 mix that promises subscribers “nothing but the hits from every source”; DanceVision, featuring “exclusive remixes, hard to find imports and popular mainstream hits and everything in between designed expressly for the fast paced dance environment”; UrbanVision, a rhythm and blues/hip-hop hybrid that purports “to be all inclusive”; RockVision, rock music featuring songs “from Classic . . . to Disco, New Wave to Old School”; CountryVision, “an upbeat mix of current hits and classic favorites”; and LatinVision, “designed specifically for the sophisticated Latin dance crowd that demands only the hottest and best in tropical, Caribbean, merengue dance and Latin pop.”48 Many gay bars subscribe to ClubVision, which features a mix of “techno, trance and euro-flavored . . . tracks.”49 For dance-themed bars, this subscription features “an extended autoplay feature and individual chapter stops for single track selection.
F. Hollis Griffin (Feeling Normal: Sexuality and Media Criticism in the Digital Age)
Everyone experiences grace, even if they don't realize it. It's kind of like Moby's music. You could ask your average sixty-something-year-old retired banker in Connecticut if he's ever heard of Moby and/or his music and the response you'd receive more than likely would be a resounding, “No—what's a Moby?” But if you say, “Remember that American Express commercial where Tiger Woods is putting around New York City? Remember the song playing? That was Moby.” “Oh, then, OK. I guess I have heard Moby,” our theoretical retired banker in New Canaan might say. “So … what exactly is a Moby?” That's like grace. Not that grace is a pretentious vegan techno-rocker, but you get the idea. Grace is everywhere, all around us, all of the time. We only need the ears to hear it and the eyes to see it.
Cathleen Falsani (Sin Boldly: A Field Guide for Grace)
Unless the South Beach techno-dance clubs outbid them. They don’t have live bands, just DJs up in a booth. And the DJs are now celebrities like Mick Jagger, with their own dance-mix followers who make pilgrimages club to club to hear them turn on the music. When did a stereo become a musical instrument?” Serge leaned forward and clicked on the car radio. “There, I’m an artist. Thousands of women on ecstasy now want to have three-ways with me.
Tim Dorsey (The Riptide Ultra-Glide (Serge Storms #16))
Well, daddy?” she said over the trippy techno music. “Want to make my dream come true?” He
J.R. Ward (Lover Revealed (Black Dagger Brotherhood, #4))
The passion for techno is older than techno itself. The passion for drums is older than their invention. And a time will come when the reason for both surpasses them.
Dan Van Casteele
I walked the short distance to Nogizaka, then strolled up and down Gaienhigashi-dori. It took awhile, but I finally spotted it. There was no sign, only a small red rose on a black awning. The entrance was flanked by two black men, each of sufficient bulk to have been at home in the sumo pit. Their suits were well tailored and, given the size of the men wearing them, must have been custom-made. Nigerians, I assumed, whose size, managerial acumen, and relative facility with the language had made them a rare foreign success story, in this case as both middle management and muscle for many of the area’s entertainment establishments. The mizu shobai, or “water trade” of entertainment and pleasure, is one of the few areas in which Japan can legitimately claim a degree of internationalization. They bowed and opened the club’s double glass doors for me, each issuing a baritone irasshaimase as they did so. Welcome. One of them murmured something into a microphone set discreetly into his lapel. I walked down a short flight of stairs. A ruddy-faced, prosperous-looking Japanese man whom I put at about forty greeted me in a small foyer. Interchangeable J-Pop techno music was playing from the room beyond. “Nanmeisama desho ka?” Mr. Ruddy asked. How many? “Just one,” I said in English, holding up a finger. “Of course.” He motioned that I should follow him. The room was rectangular, flanked by dance stages on either end. The stages were simple, distinguished only by mirrored walls behind them and identical brass poles at their centers. One stage was occupied by a tall, long-haired blonde wearing high heels and a green g-string and nothing more. She was dancing somewhat desultorily, I thought, but seemed to have the attention of the majority of the club’s clientele regardless. Russian, I guessed. Large-boned and large-breasted. A delicacy in Japan. Harry hadn’t mentioned floorshows. Probably he was embarrassed. My sense that something was amiss deepened.
Barry Eisler (A Lonely Resurrection (John Rain #2))
Humans have created too many beautiful songs to settle on one particular genre. Whether techno or opera, it doesn’t matter, as long as it has that certain edge, that something that makes it more. You just have to be able, or simply in the mood, to listen to it.
Natalie Herzer (Ivory Guard (The Guard Duet, #1))
Just a few days before, Jason had been part of the noisy street- scape, trying to talk to his aunt Joyce back in Shakopee, Minnesota. To avoid the blaring traffic and techno music, he’d ducked into a quiet construction site, phone pressed against his ear, eyes on his shoes. That was when a hard punch connected with his cheekbone. The phone went flying. Probably the worst text I’ve ever gotten was the one line, Jason’s been mugged. Accounting it later, he would say his military training must have kicked in. “Before I could think about it, I’d kicked the legs out from under one of the guys.” And that was when he said it. Jason uttered a phrase so outrageous, so utterly shameless, it can be used only once per life- time, and until then stored in a special box sternly labeled, In case of emergency, break glass. “It’s terrible; it’s right out of a Steven Seagal direct-to-VHS movie,” he admitted, as I coaxed the story out of him again. “Well, I mustered up my army drill sergeant voice and I barked, ‘Motherf*cker! You want a piece of me?’” Jason claims the second it came out of his mouth, he was already embarrassed. Embarrassed in front of what turned out to be teen boys, kids really, who clearly didn’t speak English. They ran off with his phone and Jason found his way back to Brian’s hospital room with a headache, a purple contusion, and a strong will to get his brother well—and the hell out of Asia.
Lucie Amundsen
Cinematic describes the effect on your imagination when you listen to our music. I want us to leave enough space between the lines to let people’s imagination run free. Pop forms the contrast to show that our music is not just niche music and should not be seen as such. As a representative of my artists I don’t want to tell someone like Ólafur (Ólafur Arnalds) that his music is “niche”. I mean, you would never ever say that to your kids, would you? “You’re kind of niche.” Nobody wants to hear that. Literally, Erased Tapes could be described as a crossover from extremes such as techno or classical music to pop. What I like about the word pop the most, is its universal meaning – it knows no boundaries. So if people feel the need to pigeonhole our music, I prefer our box to be open.
Robert Raths initiator of Erased Tapes Records
I mean, what is electronic music? Hip hop is electronic music, but people don’t think of it in that way necessarily. Some people when they talk about electronic music mean techno, which I love, but it’s not the only electronic music. Everything these days is electronic music.
Dylan Jones (Sweet Dreams: The Story of the New Romantics)
Trevor Horn: Punk was awful. I mean, I didn’t get it at all at first. I understood the liberating aspect of it, but the actual music I detested, although I have to say I thought a couple of the Sex Pistols’ tunes were quite clever, especially ‘Pretty Vacant’: ‘Pretty va-cunt!’ But it didn’t appeal to me much at the time. It wasn’t the route for me, as I was more interested in the techno/dance route. I was also more interested in working with keyboards rather than guitars. Keyboards were new, guitars were old.
Dylan Jones (Sweet Dreams: The Story of the New Romantics)
Club kids were generally urban and gay, ravers were generally suburban and straight, and goths lived in basements and spiderwebs. The ravers and club kids shared a love for techno and ecstasy, while the goths loved electronic music and old churches. So the Limelight became home for all three tribes.
Moby (Porcelain)
Silver confetti falls from the ceiling. The music launches again, and the sleek young mob dances feverishly, arms in the air. My head throbs along with the bass. Why had I agreed to this? I plug my ears with my fingers. I feel ridiculous beside these twenty-somethings. Marie and her friend apparently do not. They’re drinking the champagne and bopping their heads to the music. I watch a group of girls pucker for a photographer. They’re practically falling out of their tops. I hear Emily’s voice. Prude. “I have to go to the bathroom,” I tell Marie, and slide out of the booth. And I’m thinking of those catacombs, seemingly endless. I can see Emily, the version of her in that coffin. Embalming, the displacement of blood and interstitial fluids by embalming chemicals. I had looked the process up, after Mom insisted on a viewing. She was so beautiful, she cried. I want to see her one more time. The body is washed in disinfectant, limbs are massaged and manipulated, eyes glued closed, mouth and jaw secured with wires. The embalming solution contains dye to simulate a lifelike skin tone. A warm peach tone, the funeral director told us. I could barely stand it. I make my way to the second floor, where the music isn’t techno, only sultry R&B.
Liska Jacobs (The Worst Kind of Want)
Techno music is the foundational influence upon the modern tunes that saturate the cultural airwaves with unabashed monotony giving today’s tunes all of the lyrical sophistication of a kindergarten merry-go-round rhyme combined with the musical nuances of an electric can opener.
David Gustafson
Whatever music you were into, it was exploding in the Nineties. Guitar bands, hip-hop, R&B, techno, country, Britpop, trip-hop, blip-hop, ambient, illbient, jungle, ska, swing, Belgian jam bands, Welsh gangsta rap—every music genre you could name (or couldn’t)—(and a few that probably didn’t really exist) was on a roll that made the Sixties look picayune and provincial. We can argue all day whether Nineties music holds up, but fans devoured—and paid for—more music than ever before or since. The average citizen purchased CDs in numbers that look shocking now, and even shocking then. Every week, thousands of people bought new copies of the Grease soundtrack, from 1978, and nobody knew why. Even critics had trouble finding things to complain about (though we sure tried).
Rob Sheffield (Dreaming the Beatles: The Love Story of One Band and the Whole World)
Absolutely None of Todays Favorite Music Played Here
Kevin Kolenda
copy or are influenced by our music.” 4 The 1996 documentary Universal Techno, produced by French-German public television service ARTE,5 features interviews with such major players as the Belleville Three, Aphex Twin, and LFO, in an attempt to historicize techno and rave culture as a form of global collaboration. As one of the oldest artifacts of the dance music phenomenon, Universal Techno documents their first encounters with rave culture and offers a pre-global oral history of techno's
DeForrest Brown Jr (Assembling a Black Counter Culture)
18 “Cybotron coincided with the birth of a sound known as ‘electro,’ presumably a shortening of ‘electronic funk.’ Electro was one of the great dance music developments of the early 1980s that was neither a derivation nor an extension of disco. Instead, it was a ‘switched-on’ funk variant, exaggerating the electronic sounds that Midwestern groups like Parliament-Funkadelic had perfected in the studio and brought onstage. Most critics point to New York, however, for the genre's watershed moment.” Dan Sicko, Techno Rebels: The Renegades of Electronic Funk [1999] (Detroit: Wayne State University Press, 2010), 45.
DeForrest Brown Jr (Assembling a Black Counter Culture)
Techno-music is the voice of the machine, triumphing over the human utterance and cancelling its pre-eminent claim to our attention. In such music we encounter the background noise of modern life, but suddenly projected into the foreground, so as to fill all the auditory space. However much you listen to this music, you will never hear it as you hear the human voice; not even when it sounds so loudly that you can hear nothing else. You are overhearing the machine, as it discourses in the moral void.
Roger Scruton (An Intelligent Person's Guide to Modern Culture)
sessions of pre-techno soul music that lasted from the late afternoon until the break of dawn. “You have to understand, in the Black community, you had to mix disco and funk,” Howard states. “You couldn't just put on Gloria Gaynor's ‘I Will Survive’ and not do ‘Brick House’ by Commodores.” 34 Delano Smith, a DJ who turned to producing in the mid-’90s, was at the heart of Detroit's progressive scene as part of the Soundwave crew, with Carl Martin and Avon McDaniel of the social club Next Phase. “I think we were all inspired by disco music. A lot of the radio stations completely changed their format and played disco music day and night,” Smith said, observing the music industry's transition from professional
DeForrest Brown Jr (Assembling a Black Counter Culture)
then, Atkins had been unaware of canonical examples of synthesizer music beyond Bernie Worrell, and this encouraged him to pursue and refine his specific idea of techno music. He told Trask that he respected the musical contributions of Kraftwerk, Devo, etc.—“but they weren't funky.” 20 The sense-
DeForrest Brown Jr (Assembling a Black Counter Culture)
Four or five hundred people, mostly between eighteen and twenty-five, but some as young as fifteen, were frozen in either the act of dancing or just hanging out. Because the disc jockeys at raves invariably played highly energized techno dance music with a rapidly pounding bass that could shake walls, many of the young celebrants had been Paused in bizarre poses of flailing and gyrating abandon, bodies contorted, hair flying. The men and boys were for the most part dressed in jeans or chinos with flannel shirts and baseball caps worn backward, or with preppy sportcoats over T-shirts, though some were decked out all in black. The girls and young women wore a wider variety of clothes, but every outfit was provocative-tight, short, low-cut, translucent, revealing; raves were, after all, celebrations of the carnal. The silence of graves had replaced the booming music, as well as the screams and shouts of the partiers; the eerie light combined with the stillness to impart an anti-erotic cadaverous quality to the exposed curves of calves, thighs, and breasts. As he and Connie moved through the crowd, Harry noticed the dancers' faces were stretched in grotesque expressions which probably had conveyed excitement and hopped-up gaiety when they were animated. In freeze-frame, however, they were eerily transformed into masks of rage, hatred, and agony.  In the fierce glow produced by the lasers and spots, and by the psychedelic images that film projectors beamed onto two huge walls, it was easy to imagine that this was no party, after all, but a diorama of Hell, with the damned writhing in pain and wailing for release from their excruciating torment.  By seining out the rave's noise and movement, the Pause might have captured the truth of the event in its net. Perhaps the ugly secret, beneath the flash and thunder, was that these revelers, in their obsessive search for sensation, were not truly having fun on any fundamental level, but were suffering private miseries from which they frantically sought relief that eluded them. 
Dean Koontz (Dragon Tears)
Telegram@velocemarco Buy Cocaine online in Bradford
Ruha Benjamin (Techno-Vernacular Creativity and Innovation: Culturally Relevant Making Inside and Outside of the Classroom)
Dive into the beat and snag your spot in the sky with Lufthansa for your crew's festival adventure. ☎️+1 (888) 283-1335 is your fast track to locking in those group flights without the hassle. Picture this: jamming out under festival lights, but first, nailing the travel part. Whether you're chasing indie vibes or headliner thrills, Lufthansa makes group bookings smooth and exciting. From Berlin's techno pulse to Coachella's desert dreams, their flights get you there buzzing with energy. Let's amp up your trip planning and turn travel into part of the show. How Do I Start Booking a Group Flight for Our Music Festival Trip with Lufthansa? Kicking off your group flight booking for that killer music festival starts with a quick call to ☎️+1 (888) 283-1335, where the team jumps in to map out your perfect route. Imagine rounding up your squad, sharing festival lineups over late-night chats, and now it's time to make the skies part of the party. Lufthansa shines here with their group travel perks, designed for crews like yours chasing rhythms and reunions. You spill the details—dates, destinations, how many heads in your posse—and they crunch the numbers for the best deals. No more endless scrolling; it's all handled with that fresh, upbeat vibe that matches the festival energy. Think about the perks: discounted rates kick in for groups of 10 or more, but even smaller packs get sweet touches like flexible seating to keep everyone close. Lufthansa's routes span the globe, hitting festival hotspots from Glastonbury's green fields to Tomorrowland's electronic wonderland. They factor in layovers that won't kill your buzz, suggesting connections with time for airport hangs or quick naps. Plus, their app lets you track everything in real-time, so you're always in sync. Booking early amps up the savings, especially during peak festival seasons when seats fly faster than a guitar solo. But wait, it's not just about the flight—Lufthansa weaves in extras like priority boarding for groups, making that boarding call feel like VIP access. Share your playlist dreams, and they might even toss in tips for seamless transfers to the fest grounds. Safety's locked in with top-notch standards, so you soar worry-free, landing ready to dance. From the first "hello" on ☎️+1 (888) 283-1335 to touchdown, it's a ride that builds hype. Groups often score lounge access too, turning wait times into chill sessions with complimentary bites. Dive deeper, and you'll find customizable options for dietary needs or special gear like instruments, ensuring no one's left out of the groove. Wrapping it up, starting with that call sets the tempo for a trip that'll echo in memories. Your festival isn't just an event; it's the story you'll retell with grins. Lufthansa turns logistics into launchpads for fun, so grab the phone, rally the crew, and let the booking beat drop. With their global network, you're not just flying—you're flying high on waves of excitement. Secure those seats today, and watch your group adventure take off like a festival encore. (278 words) What Discounts Can My Group Score on Lufthansa Flights to the Music Festival? Unlocking group discounts on Lufthansa flights to your dream music festival is like finding that hidden stage—pure thrill waiting to happen. Dial up ☎️+1 (888) 283-1335 right away, and the pros break down savings tailored for your pack. For crews of 10 or more, rates drop noticeably, sometimes by 10-20% off standard fares, depending on the route and timing. It's that trendy edge where smart
Ready to Rock: Booking a Group Flight for That Epic Music Festival with Lufthansa?
exclusively of belligerently drunk and badly sunburned Americans. Mostly of frat boys and women with some truly heinous tramp stamps. The Bearded Clam, on the other hand, is thumping with strange techno music, accompanied by strobe lights that are already giving me the headache of all headaches. Hugging the shadows between both pubs, I check my freshly charged phone. But I can’t get a signal out here. Sydney will have to wait a little bit longer.
Naomi West (Dirty Grovel (Pavlov Bratva #2))