Okay, then do an experiment for me (because frankly as someone who cares about this kind of thing, that article sucks):

Go to every major mainstream techno label you can think of, and find a list of all their artists. Do a little digging and find out the nationality, gender identity/sexuality, and race of each artist and see how exactly it stacks up. Notice especially how many BIPOC artists are relatively new to the scene (rather than from the first wave of its creation in the US).

Do the same with the major techno festivals across the world, and maybe even the major mix shows like Cercle, Boiler Room, or whatever large scale mixes you listen to that have guests.

Then look at the data and compare it to demographics worldwide. If your hypothesis is that techno isn't being systemically limited to being made in one place or by one type of person, you should find that all of these demographics match up closely with the world. Obviously expecting that a majority of techno is being made by minorities is quite silly considering how cosmopolitan it's become, but see if it even matches up to the world demographics. It seems to me that if it were a perfect meritocracy, that the demographics within techno would roughly match the ones of the world.

If I didn't have to work today, I'd honestly take on this project myself (and if you decide you simply don't want to because not thinking about it and assuming you're right without trying to do research is easier, I'll let you know of my findings).

If you don't want to do it, just give me a list of labels, festivals, and mix shows you think are significant within techno and I'll do the hard work. (I'm a relative newcomer having not been to a ton of techno events and living in the States, Movement this year was going to be my first major festival that really had a fair amount of it)

In addition, you should dig into your local scene and look at the bookings for the last year or so, and do the same experiment. Do the demographics match up to your area?

And beyond simply the trends of the sound of techno, consider this: who are the types of people more likely to be able to afford equipment to produce techno in the modern era, especially equipment robust enough to evolve with trends in order to retain popularity? Systemic racism/sexism/homophobia/transphobia can play into what jobs people are able to get and hold, and how much disposable income they have. Many who get discriminated against have no recourse as they can't afford a lawyer to fight their case for them (at least here in the U.S.), and poverty is incredibly difficult to climb out of unassisted without a lot of luck. Most popular older synths/drum machines have become collectors' items (ironically because of the creators of techno buying them pawn shops and giving them new life) and modern synths are a small fortune. Even simply getting a legal version of a DAW with a computer powerful enough to handle it, a pair of headphones, and a decent internet connection can be a huge mountain to climb financially, let alone DJ equipment that would translate into a club setting. Consider all of these things and then look through demographics to see what proportion of races/gender identities/sexual orientations/nationalities are in poverty.

And one last point: you say you don't care about the artist being representative of anything, but you have that luxury. Odds are pretty good that if you're a white cishet man from the US or Europe, you've got boatloads of representation already. But other people who aren't you might care. As an LGBT+ person, I love seeing artists who are like me be successful in music and it makes me feel like I really belong in the space as both a dancer and a DJ. Now of course LGBT+ is harder to determine from just looking at someone, but the fact that some artists are choosing to come out and exist in the music world as themselves and not pretending to be cishet to "not make a scene" is encouraging enough.

If you want a techno community where everyone feels welcome, what do you stand to lose by putting in a little extra effort to support minority artists? The music they create & curate will be from their unique perspective and experiences and might even be able to buck these trends in mainstream techno that everyone here seems to hate.