Top 55 Techno Quotes

I am associated with techno epics.

I became obsessed with Simian Mobile Disco’s music and poorly attempted to make my own techno music.

I’m recording an album. It’s sort of techno mixed with garbage – you, know, intense in-your-face music.

I’m a techno moron. I need help just to plug in my video camera.

I just love a slow groove. I feel so comfortable in it. But I listen to a lot of fast music, a lot of techno and house.

I’m gonna be honest: I was never really a fan of techno music, dance music.

We got pretty techno on ‘Eliminator’ and ‘Afterburner,’ which I enjoyed. I think they’re good albums, but we wanted to start using the techno element a little more sparingly.

I became obsessed with Simian Mobile Disco’s music and poorly attempted to make my own techno music.

I’m going to take over on the Techno Comics so I’m going to be dealing in the children’s merchandising type department. But that’s just setting it up and having somebody run it.

Me and Dre did all, from Wreckin’ Cru to Ruthless, all that. We started making songs first… back then it was the slow songs, techno, whatever they called it back then. ‘Planet Rock,’ that kinda stuff.

All music is dance music. But when people think of dance music, they think of techno or just house. Anything you can dance to is dance music. I don’t care if it’s classical, funk, salsa, reggae, calypso; it’s all dance music.

My views on equality are pretty obvious. I mean, I did play a highly complex lesbian techno DJ on TV, but I know it’s not always easy to come out and tell the world where you stand.

I’ll leave a store if I hate the music. If it’s just, like, techno, I feel like my brain is going to explode.

Well, I love what you would call boys’ music, you know, the prodigy, banging techno, music that girls generally don’t like.

I’m not so rock and roll. I’m more techno.

I like everything from hard-style techno to rock n’ roll.

I’m gonna be honest: I was never really a fan of techno music, dance music.

I love hip-hop, R&B, techno and Latin.

I love hip-hop, R&B, techno and Latin.

We got pretty techno on ‘Eliminator’ and ‘Afterburner,’ which I enjoyed. I think they’re good albums, but we wanted to start using the techno element a little more sparingly.

When I was 16, I really discovered good stuff like Detroit techno or gabba from Holland.

I don’t want to make an album which is full of brutal and jarring techno.

I’m more akin to things like Sigur Ros, Mogwai, possibly. But when I’m making solo electronic music, techno stuff is just the most exciting form of rhythm.

I am associated with techno epics.

In England and Europe, we have this huge music called ambient – ambient techno, ambient house, ambient hip-hop, ambient this, ambient that.

I’m more into the Spawn toys. They’re really cool. They’re coming out with a Techno Spawn series and another series, The Dark Ages, which are really cool.

When playing big festivals, I tend to play big, over the top techno tracks, like hands in the air songs that make sense being played in front of 30,000 people. I steer away from subtlety in the interests of big bombastic dance music.

All music is dance music. But when people think of dance music, they think of techno or just house. Anything you can dance to is dance music. I don’t care if it’s classical, funk, salsa, reggae, calypso; it’s all dance music.

I wrote a techno song about the four things I love in Germany to make myself happy, which are my grandfather, my two poodle pets, bread, and a strange but delicious Turkish dish called Doener Kebab.

When I was 16, I really discovered good stuff like Detroit techno or gabba from Holland.

I wrote a techno song about the four things I love in Germany to make myself happy, which are my grandfather, my two poodle pets, bread, and a strange but delicious Turkish dish called Doener Kebab.

The art world is a very prissy little thing over in the corner, while the major cultural forces are being determined by techno science.

OPN is completely off the grid. Its like the slime underneath techno and other synth-oriented music.

I don’t want to make an album which is full of brutal and jarring techno.

When I hear music that parents hate, or older musicians hate, I know that’s the new music. When I hear older people saying, ‘I hate Rap or Techno’ I rush to it.

I used to go to rave parties, too, but I was never savvy with techno.

I’m a big, big, big techno dork.

I’m the know-nothing. I’m curious, I try to be entertaining, I try to translate the techno jargon, but in the end I’m the audience’s representative.

I like everything from hard-style techno to rock n’ roll.

My views on equality are pretty obvious. I mean, I did play a highly complex lesbian techno DJ on TV, but I know it’s not always easy to come out and tell the world where you stand.

The Dome is a metaphor that could mean anything – it could be nuclear fallout, terrorists – I’ve always been fascinated with stories where people’s roles are flipped on their heads, be it the Wall Street guy, the techno guy, etc. All of those things are only successful when there are people and money around.

I grew up around salsa, merengue, bachata, bass music, freestyle, hip-hop, techno, house, rave.

I’m the renegade of funk. I’ve made house, techno, rock, funk, reggae… That’s why I’ve been on so many different labels.

I’m a techno moron. I need help just to plug in my video camera.

When you’re growing up you also like to go out and party a lot, and the music that we would hear going out would be techno and electronica. And earlier stuff like the Prodigy. It kind of stood out from everything else. Y’know, ‘Firestarter,’ where did that come out of? It sounded alien and otherworldly.

If you can’t imagine female torch singers and Skrillex-style demon techno onstage at the same moment, you don’t know Eurovision.

I think I’m a person that’s very pessimistic about, like I’m not a luddite but I don’t think we need to crack the code of technology and bring forth a future techno utopia.

My mother’s records were formative for me, but when I became a teenager, I wanted to find songs that she wasn’t hip to. She was so hip, though, that I had to go outside rock n’ roll – so for about 10 years, I only listened to hip-hop, house and techno.

Disco evolved into Chicago warehouse. Then there was techno; eventually, it evolved into EDM.

The trick to techno, as a connoisseur, is that you got to do two things: keep your hands down and your mouth shut.

My mother’s records were formative for me, but when I became a teenager, I wanted to find songs that she wasn’t hip to. She was so hip, though, that I had to go outside rock n’ roll – so for about 10 years, I only listened to hip-hop, house and techno.

Simian Mobile Disco changed my life. They put me onto the EDM world. Although they would hate that term, they’re more techno.

Me and Dre did all, from Wreckin’ Cru to Ruthless, all that. We started making songs first… back then it was the slow songs, techno, whatever they called it back then. ‘Planet Rock,’ that kinda stuff.

I was very into tribal techno and used to go and really lose myself in great dance music.

My audiences are generally mixed. Some people like techno, others are into the pop music, and others enjoy my film music.