Detroit. For many people in electronic music, the American city's name sounds incomplete if it's not said in the same breath as techno. The reason why Detroit techno has become so engrained in electronic music is due to the legacy of Derrick May, Juan Atkins and Kevin Saunderson and the many waves of producers that appeared in their wake from the early '90s onwards. Without Detroit, techno would not have developed in the way it did. A techno world without any of the characteristics associated with the Detroit sound - depth, melody, groove - would be a bleak place, conveyor belt tracks and a soul-less jackboot stomp.
But the city isn't just known for techno; along with Miami and New York it spawned electro, introducing the mighty Drexciya and their many different aliases to the world, as well as artists like Aux 88, Adult and DJ Stingray. Its faster, more abrasive sound, ghetto-tech, has also enjoyed a steady following at home and abroad, and DJ Stingray gave a fascinating insight into that scene a few years back on Juno Plus. Then there's the city's house music. Labels like KMS and Harmonie Park trace their roots back to the early '90s, as do artists like Rick Wade, Rick Wilhite and Mike Huckaby. DJs who later became revered house producers - Patrice Scott, members of the Beatdown crew - were spinning since the '80s. And yet despite this rich heritage, one that Moodymann and Theo Parrish have built on in spectacular fashion, Detroit's allure and influence abroad is largely still as a techno city. Why is this?