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Generally Detroit Tech is closer to Electro in terms of the sampled elements and use of funk grooves. The reference to Disco and House should be pretty obvious, clearly you can use Disco samples in Techno that don't make it house but you wouldn't be using the groove of disco in Techno as that would make it sound like house.
In any case UR came too late to be origins of Techno. They may well have defined Techno at a time when ground was being broken in Trance or Big Beat which is fine but not that useful if you're discussing the difference between Electro and Techno when Techno emerged.
Gave Climax a listen and I wouldn't personally consider that Techno. Not that I have anything against it, just wouldn't mix with what I consider Techno.
https://www.youtube.com/watch?v=arcN5z1ljYE
This would though, just about.
Airhead-
I do still see Acid as a form of Techno rather than House as it has no sampled disco elements
This was what I found contentious as it’s clear to me that there are many disco samples in the techno canon. It appears you are now saying not the groove of disco which is quite different.
Also for me good music is good music and much of it is part of a continuous evolution and gradual change with occasional rare paradigm shifts. I tend to prefer artists and DJs who focus on good music rather than a particular genre be it Francois Kevorkian, Carl Craig, 4 Hero or Helmut Geier.
dancing james
But that to me is the interesting bit. They were sampling disco but flipping the samples differently.
A bit like the Paperclip People’s The Climax with the first choice and Lynn Collins bites. The latter was used for hip hop, hip house but in Carl’s hands the sample makes a techno track.
Or the First Choice sample in Bug in the Bassbin which for me is such a good example of a techno track, looking backward to make something so weird and futuristic and then got played at the wrong speed as a proto jungle track.
Or the Gaz sample used in Chicken Noodle Soup.
To be fair it was only years later when hanging out with Phil Asher and Patrick Forge when they schooled me at the Notting Hill Arts Club that I realised how much of Carl’s music was sample based. It became apparent where his source material was. Also as he is probably my favourite early to mid 90s techno producer I find the notion of techno not sampling disco very at odds with my knowledge and experience of techno.
Though famously the reason why Derrick May set up Fragile records was he felt Carls use of sampling made his music unsuitable for Transmat.