In the mid to late 1990s,a new techno scene was developing in London clubs, a cross between house music and minimal techno; this new wave was labeled in record stores as “tech house.”
A softened techno thanks to the sounds mutated by the deep house and progressive house current. Geographically this genre is associated with the sounds of Detroit and UK techno.
This new wave saw the light inside iconic clubs such as The Drop, run by Mr. C & Plink Plonk, Heart & Soul and the Wiggle, run by Terry Francis and Nathan Coles.
In the 2000s Tech House music remained in the shadow of Techno music for a long time and only found splendor a few years later in Spain thanks to Marc Maya, Oscar Aguilera and Raul Mezcolanza. The dance floors at this time were tired of
listening to the usual techno and minimal sounds, they were asking for something else, the discography needed a change, sounds less dark but at the same time not far from those in vogue up to that time.
The dance floor wanted to party, to jump, to smile, to scream at the top of its lungs, and that is where tech house came in, a genre that fully embodied everything that was being sought.
From then on, tech house music conquered the dance floors of the world, also thanks to the support of great artists like Carl Cox.
In recent years this current has had an unexpected rise , thanks to the “dribbling” sounds that are appreciated even by the mainstream and radio world.
Many big artists in the urban world have decided to integrate in their sound some elements that purely distinguish tech house music. This lets us know , that tech house music is among the most popular genres of the moment.
It is a fact that today on Spotify’s global charts it is possible to find at least one out of fifty tech house tracks.
Like it or not, tech house has an irresistible sound, full of grooves and edgy sounds capable of making even stones dance.
