Veteran Electronica producer and DJ, Kenario, is a zealous proponent of this concept.

"All music throughout every era of history -- aside from vocals -- has been engendered through the particular technology of its time," he explains. "But the Silicon Age is probably unique in that the technology it brought with it actually manifested itself as a musical genre in its own right. Techno House music was as much about the drum machine as it is about the personnel operating it, and I remember it seemed to evolve into a culture where the producers took a back seat and let their creations be their own robotic superstars.

"I get nostalgic about those early days, maybe because they coincided with my own formative years, and I'm well aware that many came after who took advantage of the commercial opportunities, which I think has bastardised the genre. Fortunately, there continues to be musicians out there with purist ideals, meaning I can always access a wealth of great, progressive, fad-free music out there -- even 25 years later."

Just nine years old when the first House music label Jes Say Records began production, Kenario (real name classified) had no idea of the movement taking place in Chicago at that time. He was introduced to House music in the mid-late '80s by a friend with a Walkman, and soon after began production of his own demos using a Roland TR 505 and a couple of digital synths.

"I loved the fact that recordings made on old four tracks in bedrooms were available in the same music stores as big budget studio albums recorded by four and five piece rock and roll bands. I thought: 'I've got to give this a go!' and just got stuck right in, making the most of living in a family home full of musical gear. The early stuff was awful -- really cheesy and always in D because it was an easy scale to play around -- but I developed with time and exposure to quality Acid House and Techno artists from down south and the States."

In 1994, Kenario co-formed Mass Energy with 'Technoid' (real name also classified) -- the aforementioned school friend who had first acquainted him with House music -- and together they released 'The Futurizer E.P.' via independent rave label, Shoop! Records. The label was doomed to collapse, however, taking with it the proceeds of the E.P. which had been a hugely successful debut for the duo (particularly in continental Europe, where it was licensed by Sony Music), and the band's follow-up release never made it beyond white label stage.

"We originally formed Mass Energy for the very purpose of going to market with more 'radio-friendly' music, at a time when Scotland had a flourishing electronic dance music scene. Our reasoning was simply that we had a relatively expensive hobby -- all that gear didn't pay for itself -- and we figured it was time that the music was at least 'self-funding'. You certainly can't live off niche music record sales alone.

"However, both Technoid and I shared the same underground ethos, and by our third vinyl we had 'defaulted' back to a darker, harder, Acid-based blueprint."

The second track of their 'Electro Odyssey E.P', entitled 'No Sell Out' spelled out the band's blunt, new mission statement; and ultimately proved to be a self-fulfilling prophesy. The hard and raspy basslines and nasty, raw beats were, if anything, too hardcore for their primary market, in Scotland (despite the national penchant for Gabber).

In contrast to the anarchic angriness of Mass Energy, Kenario's solo work is majoritively chilled. There are no signs of the 180+ BPM mindbenders (with one-off Storm Records sampler contribution, 'Slaughterhouse', a notable exception), and his creations filed under the Techno genre are permeated by a distinctly Detroit flavour.

"I left the dark side behind!" he admits. "Actually, it was never really my thing. I'm too mellow by nature, and I get more pleasure out of making or playing music which gets the audience smiling. To me, my fondest memories of the 90s rave scene in Britain were the Piano House and Breakbeat crowd-pleasers, because there's a time and a place for 'serious music heads'... and that's not at parties on a Saturday night. For instance: relaxing at home, I've worn a hole in [LFO's seminal album] 'Frequencies' over the years, but that's a different trip for a different state of mind."

Kenario's melodic and experimental brand of Electronica can be found online at Soundcloud and MySpace, with many tracks available for download.

"It's a pleasant surprise whenever someone appreciates my work," he remarks, "because I'm the first to admit my sound often had a pretty weird edge to it! But I run my own business away from the music industry, so have no financial obligation to please a certain audience -- or worse, a certain 'market'. I just record what I want in accordance with how I'm feeling at the time, then fire it online for people to like or reject before moving on to the next project. The internet has liberated the artform for people like me, and -- whereas my personal music collection was once restricted to 'products' selected by corporate A&R departments -- my MP3 player has a lot of amazing, genuinely independent tracks by underground geniuses I'd never have otherwise known about."

And so, with a certain sentiment of poetic justice, it is technology itself which preserves the archetypal facelessness of the musical phenomenon it gave its name to.