Melodic techno: Afterlife, Tale Of Us and the naming debate

Techno that sings

Classic techno is built on rhythm and repetition. Melodic techno adds what techno usually avoids: a clear melody. Long, rippling synth arpeggios, sad chords and a slow build to a climax. The tempo can be a little lower than classic techno, often around 120–128 BPM. On the dancefloor it is music to feel rather than to lose yourself in.

Where it came from

Melody in techno is nothing new. In the minimal lesson we mentioned the Cologne label Kompakt, which had long blended techno with pop sensibility. In the 2010s a handful of producers began building whole tracks around big, emotional motifs. German producer Stephan Bodzin, who plays synthesizers live, released the album "Powers of Ten" in 2015, which became one of the pillars of the sound.

Tale Of Us and Afterlife

A key role was played by Tale Of Us, Carmine Conte and Matteo Milleri, a duo that started out in Milan. Their early records came out on labels including Richie Hawtin's Minus, and "Another Earth" from 2013 showed their signature melancholic style. In 2016 they founded Afterlife: a label and event series with elaborate visuals that quickly conquered Ibiza and the biggest festivals. In 2017 they released the album "Endless" on Deutsche Grammophon, a label known for classical music. Matteo Milleri later developed a solo project, Anyma, built around spectacular visual shows.

The naming debate

Few things divide the scene like melodic techno. Critics say it is essentially 1990s trance and progressive house in new packaging, with the word "techno" added because it sells better. Supporters reply that emotion matters, not labels. Tellingly, even Afterlife's Ibiza nights have had two rooms: the hosts' melodic sound in one, harder Berlin-style techno in the other.

What it means

Melodic techno has brought millions of new listeners to electronic music, often people who would never be in a dark club at six in the morning. For this Academy it is a good example of how genres keep blending, and how the lines between them are drawn not only by sounds but also by people, markets and music shops.