As Atkins puts it, "With technology, there's a lot of good things, but by the same token, it enables the powers that be to have more controL" "Techno City" was inspired by Fritz Lang's vision in Metropolis of a future megalopolis divided into privileged sectors high up in the sky and subterranean prole zones.
Bar the odd session that May would do for Electrifyin' Mojo, you couldn't hear this kind of DJ cut 'n' mix on the radio in Detroit.
But within a year, rave culture had stratified into increasingly narrower scenes. Davis and Atkins discovered they had interests in common - science fiction, futurologists like Alvin Toffler, and electronic music. For the critic this requires a shift of emphasis, so that you no longer ask what the music "means" but how it works.
It's like a blind person can smell and touch and sense things that a person with eyes would never notice.
Hardcore scenes are strongest when they remain remote from all of that and thrive instead as anonymous collectives, subcultural machines in which ideas circulate back and forth between DJs and producers, the genre evolving incrementally, week by week. To the participant, it feels like a religion; to the mainstream observer, it looks more like a sinister cult.
There are hardcore sounds designed for one-shot raves and for clubs that cater to rave-style teenage bacchanalia as opposed to more "mature" nightclub behavior: jungle, gabba, trance, happy hardcore.