Half way or not Electro-techno is an electro feel built on techno construction, electro deals with emotionality of machine and funkiness of electricity which creates sound, here blood is juxtaposed to electric energy body is an emotional machine as social criticism and it sounds as juicy machine buzz with cold funked rhythm and sharp cymbal resembling the cheap drum machine in its try to imitate, on other hand techno represents a technological spirituality it is all about the possibility of minimal rhythm produced by sampling exploration and djs technique, it is contained, hard and flat, and miles away far from real electro, except in the case of electro techno music. Techno is all about the maximum of impoverished rhythm produced by machine in aim to fight for spirituality within materialism, there is no sign of electro emotionalisam in it, and it can be easily understood by breef listening of both genres, historical as well as contemporary, flashbacks, modifications and sub-genre ways always conditioned by the main aesthetic tactics of survival...Electro - not to be mistaken for Electronica... Electro is the forefather of modern electronic music and hip-hop and still around today. based on very juicy analogue beats and sounds (Kraftwerk, Dopplereffect, Man Parish, Andrea Parker, Anthony Rother...), Techno is a form of electronic dance music that emerged in Detroit, Michigan, USA during the mid- to late 1980s. Many styles of techno now exist, but detroit techno, a genre in its own right, is seen as the foundation upon which a number of sub genres have been built.
”Techno” is also commonly confused with generalized descriptors, such as electronic music and dance music. These uses are incorrect.
The initial take on techno arose from the melding of Eurocentric synthesizer-based music with various African American styles such as chicago house, funk, electro, and electric jazz. Added to this was the influence of futuristic and fictional themes that were relevant to life in American late capitalist society: most particularly the novel Future Shock by Alvin Toffler. Techno music pioneer Juan Atkins cites Toffler’s phrase “techno rebels” as inspiring him to use the word techno to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as AfroDiasporic Futurism. To producers such as Derrick May, the transference of spirit from the machine to the body is often a central preoccupation; essentially an expression of technological spirituality. In this manner: “techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness”. .
