10. Martin Garrix – The Melodic Wunderkind

Kicking off our countdown is the prodigious Martin Garrix. Hailing from the Netherlands, this young virtuoso has taken the world by storm with his signature blend of uplifting melodies and infectious rhythms. From “Animals” to “Scared to Be Lonely,” Garrix’s music can turn any party into an EDM extravaganza!

9. Diplo – The Genre-Bending Chameleon

Diplo, the master of collaboration and reinvention, secures the number two spot. With a penchant for blending diverse genres like electronic, hip-hop, and dancehall, Diplo’s tracks never fail to surprise and keep us on our toes. From Major Lazer to Silk City, his versatility knows no bounds!

8. Nina Kraviz – The Techno Tsarina

Making her mark in the techno realm, Nina Kraviz claims the third spot on our list. With her hypnotic sets and deep, dark beats, this Russian sensation has earned her place as one of the most influential female DJs in the industry. Bow down to the queen of the underground!

7. Zedd – The Pop Sensation

Next up, we have the maestro of crossover hits – Zedd! With chart-toppers like “Clarity” and “The Middle,” Zedd’s infectious pop-infused electronic sound has won over hearts worldwide. His seamless fusion of genres has made him a household name and a festival favorite.

6. Peggy Gou – The Fashionista of House

Hailing from South Korea, Peggy Gou takes the fifth spot on our list. Known for her groovy house beats and impeccable fashion sense, Gou is a rising star who has captured the hearts of music enthusiasts and style mavens alike. Get ready to dance the night away with this stylish sensation!

5. Deadmau5 – The Masked Techno Guru

At number six, we have the enigmatic Deadmau5, who hides behind his iconic mouse headgear. An electronic music veteran, Deadmau5 has been at the forefront of the scene for years, mesmerizing audiences with his pulsating progressive house tracks and immersive live shows.

4. Alison Wonderland – The Bass Queen

Hailing from Australia, Alison Wonderland claims the seventh spot with her electrifying bass-heavy beats. Her unique blend of future bass and trap has earned her a dedicated fan base and a reputation as one of the must-see acts in the EDM circuit.

3. Calvin Harris – The Hitmaking Wizard

How can we forget Calvin Harris? The Scottish sensation secures the eighth spot on our list with his remarkable ability to churn out chart-topping hits one after another. From “Summer” to “One Kiss,” Harris’s infectious tracks have dominated both the radio and the dance floor.

2. Charlotte de Witte – The Techno Phenomenon

As we near the end of our countdown, we can’t overlook the rising star of techno – Charlotte de Witte. This Belgian DJ has been carving her own path in the male-dominated techno scene with her dark, brooding beats and unmatched energy behind the decks.

1. Skrillex – The Dubstep Icon

Last but not least, we have the king of dubstep, Skrillex! With his groundbreaking tracks like “Bangarang” and “Scary Monsters and Nice Sprites,” Skrillex brought dubstep to the masses and forever changed the electronic music landscape.

Conclusion

There you have it, folks – the top 10 electronic music DJs of the modern era! Their distinct styles and contributions to the culture have left an everlasting impact on the world of music and entertainment. Whether you’re a seasoned raver or a curious newcomer, these DJs’ beats are bound to get you moving and grooving to the electrifying rhythm of the EDM world. Keep the party going, and until next time, stay tuned for more musical adventures! Peace out!

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Merging Gambling and Music

Gambling and listening to electronic music have a lot in common. Both activities provide an opportunity to shed all worries and enjoy the moment. Dancing on the dance floor and spinning slot machines provide a person with a dose of adrenaline and euphoria, which are so valuable in everyday life. Fast payouts from online casinos contribute to this fusion, adding the ability to enjoy your winnings immediately and keeping the excitement high.

Adrenaline at the Casino and on the Dance Floor

The moment of anticipation when the roulette ball drops on a number, when the dice produce the desired result or when the slots form a winning combination fills players with excitement and adrenaline. Such moments transport us into the world of gambling, where every twist of fate can lead to a big win or possibly a loss.

Similarly, when the first chords of electronic music are played on the dance floor, the atmosphere is filled with energy and excitement. Rhythmic melodies lead the way and people are immersed in a world of movement and freedom. Such experiences enrich us emotionally and lift our spirits to unprecedented heights.

Fast Payouts: Instant gratification

One of the great joys of playing at an online casino is the possibility of fast and reliable payouts. When luck smiles and winnings are on your side, fast payouts provide instant gratification and joy at the outcome, you can find out how to make a quick withdrawal from an online casino by checking out Adventure Magazine’s resource. The moment the money arrives in your account, you can feel like a winner and experience pride in your gaming prowess. In addition, fast payouts save players from the long wait and stress associated with receiving their winnings. This allows you to enjoy your money, whether you use it for further casino bets or for other needs.

The Energy of Music Festivals and Gambling

Music festivals and casinos share many similarities. Both attract crowds of people hungry for a unique and exciting experience. At music festivals, the sounds of electronic music attract dancers, creating unity and a positive mood. In casinos, gambling brings players together, giving them the opportunity to experience strong emotions and the hope of success.

The combination of these two worlds – music festivals and gambling – creates an unforgettable experience for visitors. Fast payouts at online casinos allow those who win to immediately relive the joy of victory and share it with friends on the dance floor.

Conclusion

Fast payouts from online casinos, the fusion of gambling and music on the dance floor, bring an extra boost of emotion to the lives of players and music lovers. Both worlds – casino and electronic music, strive to satisfy their visitors by offering them unique experiences and exciting moments. When the adrenaline of gambling merges with the rhythms of electronic music, it creates a special sense of excitement and thrill. Players immersed in gambling passions experience the added joy of knowing that fast payouts will allow them to receive their winnings instantly. This adds extra intrigue and excitement to the game, and music lovers enjoying the sounds of electronic music on the dance floor can share this joy with friends too, thanks to fast and reliable payouts. In summary, combining gambling and music allows us to enjoy every moment, adding vibrant colours to our lives. The experience of fast payouts and emotional music merge into a harmonious whole, giving us a pleasure and joy that cannot be forgotten.

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What is the name of very fast music

Speedcore is a style of electronic music, an extreme form of hardcore.

The fastest of all musical tempos is “Prestissimo”. Translated from Italian, this term means “very quickly.” The pulsation speed during the performance of such music is + / – 210 beats per minute. / There are other designations. The crossed-out tempo sign means to perform twice as fast as printed. /

What is the essence of electronic music

electronic music, english. Electronic music) – music created using electric musical instruments and electronic technologies (from the last decades of the 20th century – computer technology).

Who Invented Electronic Music

Lev Theremin – from music “out of thin air” to wiretapping without “bugs”. Lev Termen is a physicist-inventor, musician, businessman, Stalin Prize laureate and prisoner, as well as a man who is deservedly considered the father of electronic music.

When did electronic music appear?

Electronic music (German elektronische Musik, English electronic music) is music created using electric musical instruments and electronic technologies (computer technologies since the last decades of the 20th century). As a specific direction in the world of music, electronic music took shape in the second half of the 20th century and by the beginning of the 21st century it had become widespread in academic and popular culture.

The most popular genres of electronic music

To date, some of the most popular electronic genres are techno, house, drum and bass and IDM.

What genres of music are the most popular in 2021

The most popular genres in 2021 are pop music (neo-pop, pop rap), alternative (alternative rap, alternative rock), indie and electronic music (house).

What genres do DJs play?

• Dance.
• Dance-Pop.
• Dark Ambient.
• Deep House.
• Deep Techno.
• Detroit Techno.
• Dirty Rap.
• Dirty South.

Who is a DJ

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What is the difference between house and techno

Techno is the brother of house music, which uses all the same elements, but is characterized by a faster tempo. Techno is dark, strict and mechanical. In the words of one of its founders, Juan Atkins, “it’s music that sounds like technology.” It also has a 4×4 rhythm and a speed of 120-150 BPM.

In short, house is the EDM version of “black” music (soul, funk, jazz), while techno is the EDM version of “white” music (rock). House usually has a “rocking” (also known as “shuffling”) feel, while techno plays “straight”.

What are song remixes called?

Remix (Remix) – processed (remade) version of the song. Most often this is a version of the track in a different musical direction. Bootleg (Bootleg) – unofficial Remix. That is, the artist or label did not agree to the remix of the track.

A remix is ​​a version of a piece of music recorded later than the original version, usually with a more modern version of the arrangement. Sometimes it is created by “mixing” several parts of the original composition, imposing various sounds, special effects on it, changing the tempo, key, etc. Special cases of a remix are: remixing, megamix (compilation of several pieces of music).

What is a remix in music

What is a remix? A remix is ​​a track that has been distorted or altered in such a way that it resembles the original song, but is altered so much that it appears as a standalone unit.

How to remix a song

One incredibly unique way to remix a song is to build your own chord progression to an existing tune. Of course, you may need a basic knowledge of music theory to change a chord progression, but you can also try working by ear, as many music producers do.

How to create a quality remix

The process of creating a quality remix is ​​very creative and largely depends on your musical background, ideas and willingness to experiment. It is difficult to single out any strict rules in it, however, for beginners, we have prepared a memo of 10 tips that will help them at the initial stage.

What is the name of beat music

Bridge in popular music In this regard, the musical theme of the bridge, as a rule, differs markedly from the main themes both harmonically and melodically; often there is also a change in rhythm and tempo.

Electronic music or EDM.

Also known as dance music, club music, or simply dancing. Electronic music is a variety of beat genres of electronic music, usually intended for nightclubs, raves and festivals. EDM is created to be played by DJs who seamlessly play selections of tracks, called mixes or sets, as they transition from one song to the next.

What is the name of calm electronic music

Ambient is a style of electronic music based on modulations of the sound timbre. Ambient is often characterized by atmospheric, enveloping, unobtrusive, background sound. Born in the 1970s thanks to the work of Brian Eno; has since developed several varieties.

Chillout is called light electronic music, quite slow and calm. The genre originated in the early 90s in the famous Cafe del Mar bar in Ibiza. Chill-out compositions are designed to immerse listeners in the atmosphere of life on the island and Mediterranean sunsets. Unlike the lounge, which is close to jazz and created to create a relaxed and festive mood, chillout should relieve tension and promote relaxation.

What is another name for electronic music?

Electronic music or EDM. Also known as dance music, club music, or simply dancing. Electronic music is a variety of beat genres of electronic music, usually intended for nightclubs, raves and festivals.

What is computer music called

Electronic music (from German Elektronische Musik, English Electronic music) is a musical genre that refers to music created using electronic musical instruments and technologies, as well as using special computer programs.

What direction of music is

There are only four musical directions: folk music, sacred music, academic music and popular music. Each direction belongs to a certain number of genres of music and each genre has many subgenres.

What is the name of the chorus in electronic music

Chorus (Chorus/Refrain) Since the chorus is the most repeated part of any track, it contains the main lyrical and musical ideas. It is here that the main informational message of the composition is located, as well as the musical hook that catches the listener.

And here it is – chorus, chorus (just in case – read through K). By the name, you can guess what is intended to be performed by the choir, who has it. Another name for the chorus is refrain, from the Latin “repeat” – and indeed, it will be repeated more than once. It is the refrain that is the most catchy, affectionate part of the song, it is the one they whistle while walking in the park, they sing it while washing themselves in the shower.

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Section 1: The Psychological Effect of Music in Casinos

Music has a unique ability to influence a person’s psychological state, determining their mood and emotional background. Depending on the tempo, rhythm, and melody, it can cause sensations of excitement, joy, tranquility, or even tension. Casinos actively use this ability of music, choosing sound accompaniment in such a way as to push players to continue the game.

Section 2: Music as Part of the Image and Atmosphere of Casinos

The musical style that sounds in a casino often reflects its overall concept and mood. For example, in traditional casinos, jazz and blues are often heard, while in more modern and trendy establishments, electronic music or even rock can be played. It is important that the music corresponds to the overall atmosphere of the establishment and helps to form the right mood.

Section 3: The Importance of Music in Online Casinos and Slot Machines

In online casinos, music also plays a key role. It helps create a gambling atmosphere, even if the player is in the comfort of their own home. In slot machines, music and sound effects add dynamism, creating an illusion of reality. The sounds of spinning drums, melodies of success, or even sounds of loss – all this creates a unique sound landscape that enhances the impression of the game.

Section 4: Musical Performances in Casinos

Many casinos do not limit themselves to background music alone and organize musical performances and concerts. This attracts an additional audience, strengthens the reputation of the establishment, and makes it more attractive to visitors. These shows can vary from performances by local artists to concerts by world stars. We advise you to try your luck in online casinos and use the Boleto payment method, which you can find out more about on the page – online casinos with Boleto Bancario.

Music and Casinos – A Combination that Enhances Gambling

Music and casinos have more in common than may seem at first glance. Both offer forms of entertainment, both can trigger strong emotions, and both can be a source of significant rewards. For this reason, music is such an important component of the atmosphere in casinos, making its unique contribution to the overall gaming experience.

Section 5: The Role of Music in Player Behavior and Decision Making

The influence of music extends beyond just creating the atmosphere; it can significantly impact player behavior and decision-making. Upbeat and faster music can encourage players to bet faster and more frequently, while slower, more mellow tunes may promote a relaxed pace of play. Casinos often strategically use this to manage the flow and rhythm of the gaming floor.

Chapter 6: Music and Technologies in Casinos

With the advancement of technology, new possibilities have emerged for integrating music into casinos. For example, in some online casinos, players can choose the music accompaniment for their gaming experience according to their own taste. Modern slot machines also utilize complex sound effects and musical tracks to make the game even more interesting and captivating.

Chapter 7: Musical Themes in Casino Games

Another noticeable trend in casinos is the use of musical themes in games. There are slot machines based on popular music groups, songs, or genres. This not only adds uniqueness to each machine but also allows visitors to immerse themselves more deeply in the atmosphere of the game.

Music -An Essential Element in Casinos

It is impossible to imagine a modern casino without music. It plays a vital role in creating the atmosphere and enhancing the gaming experience, setting the mood and intensifying the impressions of the game. Whether it’s live performances, background music, or slot machine soundtracks, music remains a key element in any casino. Thanks to music, casinos transform into not just places for gaming but also spaces to enjoy sounds and melodies, making each visit unique and unforgettable.

Chapter 8: Music as a Relaxation Tool

In casinos where the tension from gaming can run high, music often serves as a means of relaxation. Soft, soothing melodies help alleviate stress and tension, allowing players to remain calm and composed. This is particularly important in games that require strategic thinking and concentration.

Chapter 9: Music Trends in Casinos

Like any other field, there are music trends in casinos. These trends can be associated with popular music, cultural movements, or even seasonal events. For instance, during holidays, thematic songs are often played in casinos, creating a festive atmosphere.

Chapter 10: Music and Social Interaction

Music in casinos also fosters social interaction. It can serve as a conversation starter, help find common ground among players, or simply create an atmosphere of enjoyment and entertainment. Whether it’s dancing to lively tunes or discussing favorite songs, music promotes communication and interaction.

The Invaluable Role of Music in Casinos

Music remains an integral part of casinos, playing a role not just as background but as an active participant in the process. It influences players’ moods, creates an atmosphere, and can even impact their decisions. Whether in traditional land-based casinos or modern online platforms, without music, they would be entirely different. Music and casinos form a combination that will continue to shape the gaming industry in the future, bringing joy and excitement to millions of people worldwide.

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When a person comes out of puberty, he simultaneously parted with many prejudices and stereotypes. In particular, many fans of all kinds of guitar music – and especially those who call themselves “rockers” – change their attitude toward “electronics. The album list published today is intended to help new “music lovers” to love electronic music in its diversity (not for everyone, of course, no list is enough for that).

Depeche Mode – Violator (1990)

It so happened that Depeche Mode became synth pop icons, eclipsing everything that came before and influencing everything that came after. Violator’s seventh studio album played a key role in this. It is ridiculous to think that the disc is notable only for the two well-known hits: Violator is a great example of a powerfully monolithic album, with each song an integral part of it. The band recorded seven more great records, the last of which was released this year, but Violator remains an impregnable peak not only for its writers, but for all contemporary electronic pop music.

Kraftwerk – Radio-Aktivitaet (1975)

Fifteen years earlier, an album was released without which Depeche Mode and many others would not have made it. The Dusseldorf-based band Kraftwerk, which at first was among the pioneers of German psychedelic electronics, called Krautrock (a phenomenon certainly worthy of a separate consideration), suddenly “mechanized” their image, and with it, their sound. It began with the album Autobahn (the third official record of the group), and finally, the new style of these “The Beatles of electronic music”, new trendsetters in the culture of their contemporaries and kings of retro-futurism, was formed on the disc Radio-Aktivitaet. In general, any representative of progressive humanity should listen to the discography in full. And you’d better start with the German version of 1975 album.

The Prodigy – Music For The Jilted Generation (1994)

We are going back to the nineties, which is impossible to remember without the energy explosion produced by the guys from the English countryside. “The music of the Jilted Generation” broke all the molds, brought The Prodigy to the top of the world music industry and made a new style – electronic big beat – the main dish of discos all over the world. Gradually Europe recognized the names of other heroes of the genre – The Crystal Method, The Chemical Brothers, Propellerheads. The British music veteran Norman Cook, who for the occasion renamed himself Fatboy Slim, also joined them. All this honest company is worthy of the closest attention of fans of good music (not because of bad nostalgia for school discos, like, say, in the case of plebs-ravers Scooter), and we advise to start studying it with the second album of The Prodigy.

Nine Inch Nails – The Downward Spiral (1994)

It’s 1994 again, this time – USA. The second full-length by the brainchild of the real second-wave industrial monster Trent Reznor, Nine Inch Nails. Strange recording history, interesting fate of the songs – and simply unique and fascinating sound of the new industrial music. Influencing all industrial metal from Neue Deutsche Haerte and Powerman 5000 with Marilyn Manson to, of course, EBM and its derivatives.

Autechre – Incunabula (1993)

And one year earlier another revolution happened. A milestone in the formation of IDM – “smart dance music”, as music critics awkwardly dubbed it. In fact, there was almost nothing danceable about these sounds, which had set off another musical revolution in the nineties of the last century. Together with the crazy Irishman Aphex Twin these Englishmen said really new word in music. And the first two albums of the duo still remain the benchmark of atmospheric electronica. And for fans of sound intellectual exercises there are other works of Autechre, as well as products of Aphex Twin and projects connected with it. And then you can move on to Brian Eno’s rich and varied ebmient legacy.

Laibach – WAT (2003)

Speaking of EBM. The tenth studio album of the great Slovenians Laibach is not only the tip of the iceberg called Neue Slowenische Kunst, but also the best example of EBM – Electro Body Music, one of the most aggressive genres of electronic music (which can be continued through such great bands as KMFDM and Front 242). In general Laibach, one of the founders of industrial and founders of martial industrial, succeeded in almost all of the directions mentioned here. And many people start their immersion into their wonderful multi-layered world of meanings and intricate quotations with this album. Why not?

Deutsch Amerikanische Freundschaft – Alles ist Gut (1978)

The German duo DAF, the comrades-in-arms of Laibach in the first industrial wave, remain known only in a relatively narrow circle. Though they influenced everything possible – you can find direct quotations from their works in many bands, from Laibach to Rob Zombie.

Infected Mushroom – Classical Mushroom (2000)

Trance and what has come to be called psytrance is a very interesting phenomenon that can drag on for a long time and seriously. Without thinking too much, we suggest to start with the most successful album of the most famous representatives of this genre. And then you will start to find its dark pearls.

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The older we get, the worse modern music seems to be. Nevertheless, everyone understands that popularity directly depends on the quality of the musical material. You can call me a cheapskate or an old mammoth (I don’t mind, by the way), but I’m more than sure that dance music was much better back in the days when many people didn’t even know it existed.

Some styles of electronic music have only gotten better over the years, while others have slipped into constant self-repetition, losing everything the listeners originally valued them for.

House

House music emerged in the U.S. in the early 1980s and sounded incredible at the time. The innovative electronic sound of house is the result of the active development of digital music and studio equipment, as well as a real revolution in the world of semiconductors and silicon chips. All this led to the fact that the democratic world of electronic music has become a real mouthpiece of progressive youth.

Skillful mixture of disco energy with soulfulness of gospel, funk and rhythm and blues gave the world a lot of bright and memorable records, and when the palm of primacy in the formation of the genre was picked up by musicians from Britain, house came to an entirely different level.

The widespread popularization of house in 1990-2000 was the result of the meaning inherent in the music itself. House compositions were created in order to awaken in listeners a primal desire to dance. Until the end of the noughties house confidently kept the interest of the public, until at one point it began to talk about that house – it’s trash.

In the early 2010s, lighter and simpler dance music blended with pop music, becoming the true standard in the world. The lyrics made more sense, Deadmau5 started writing songs with Justin Bieber, and the compositions became clearer and more enjoyable. Nowadays house is mentioned very rarely and only in articles like this one.

Drum’n’bass

If DJ Brockie were dead, he’d be spinning in his coffin all the time now from what drum’n’bass has become. The mid-1990s was the golden age of electronic music – such creativity was not for everyone, ordinary listeners hated electronic music, and happy hardcore musicians boldly experimented on the sound.

At a certain moment the borders of the permitted widened and a completely new style of dance music appeared – drum’n’bass. Thanks to the fact that raves and drum’n’bass itself stood a little aside from the mainstream, listeners gradually began to think that the genre was exceptional. Drama’s popularity grew until 1998, when the pinnacle record in the style – the composition “The Nine” by Bad Company – was released.

Today no one blames bands like Fresh, dBridge, Maldini and Vegas for turning drum’n’bass into a competition to pump up music with bass testosterone. Nevertheless, it was this love of bass power that was the turning point for the style, after which there was no turning back. Once drummers began chasing more and more chugging bass, audiences lost interest in the style.

Drum-n-base became a patchwork of different branches – there was serious and lingering DnB for the elite, and noisy and nervous drumming for ravers, and commercial drumming for the masses. This division has finally finished off the once popular style of music.

Techno

In the late 1980s techno was electronic music with bright and catchy melodies. In the 1990s the style split into several directions: Detroit, European and British. Directions were strikingly different from each other and offered listeners a musical experience.

These days the genre imperceptibly merged all directions into a single whole and became predictable music at any rate. Techno DJs are more concerned with their own appearance than creating new and unusual music. The funny thing is that the style didn’t manage to have enough influence on the music – the DJs immediately started competing in external coolness, forgetting about the music.

Hip-hop

Hip-hop has had a huge impact on popular culture. It started its way to the masses in the 1970s at parties in the Bronx, and by the 1990s it had become the voice of the streets. It was hip-hop that gave the world such stars as Run DMC, Dr. Dre, Eric B & Rakim, Snoop Dogg, 2Pac and many others.

In the 1990s hip-hop was not afraid to bring up tough social issues and talk about the problems of life and the injustice of the world. Musicians and MCs easily read about the complexities of politics, racism and more. Today hip-hop can only talk about the joys of consumption, aimless spending of money, drugs and women of easygoing.

Most of the beats and interesting ideas were invented back in the 1990s on a simple Roland TR-808 drum machine, and the best samples have already been used thousands of times. Modern hip-hop musicians dream only about money and don’t want to invent anything.

In principle, it is possible to revive the style with a bolder and fresher approach to the genre, but no one will do it. Therefore, the style is doomed to remain on the sidelines of musical history.

Dubstep

The first dubstep track is considered to be DJ Nero’s remix of the song “Dressed To Digress” by Boy Crisis. A little less than five years ago, dubstep sounded from every speaker in the world. The love of listeners and musicians to the genre woke up in 2009, when Doctor P track “Sweet Shop” became popular. The owners of the British night clubs recalled that the audience reacted to the style for 18 months, after which the visitors of the clubs stopped jumping on the dance floor with the first notes of dubstep songs. That’s when the style went to the masses.

At first dubstep took away from drum’n’bass music the title of the most pumping bass music, and then thanks to Skrillex it became the analogy of the stadium rock of the XXI century. Skrillex gave a second birth to the genre – now every guy with installed FL Studio learned to drop bass and proudly called himself a dubstep DJ. That’s what killed the genre, which finally died in 2015.

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Dubstep is a genre of electronic music that originated in south London in the late 1990s. It is usually characterized by sparse syncopated rhythmic patterns with accented sub-bass frequencies. The style emerged as an offshoot of British Garage, drawing on a lineage of related styles such as 2-step and dub reggae, as well as Jungle, broken beat and grime. In the United Kingdom, the genre’s origins can be traced back to the development of the Jamaican scene in the early ’80s.

By the late 2000s and early 2010s, the genre had become commercially successful in the UK, with more and more singles and remixes hitting the music charts. Music journalists and critics also noticed the influence of dubstep on the activities of some pop artists. Around the same time, musicians began combining elements of the original dubstep sound with other influences, creating fusion genres including future garage, slower and more experimental post-dubstep, and harder electro-house and heavy metal influenced brostep, which greatly helped popularize the genre.

Features

The music website Allmusic has described the sound of dubstep as “tightly woven pieces with stunning bass lines and reverberating drum patterns, with cut samples and occasional vocals.” The ingredients of dubstep originally came from bleep ‘n’ bass, jungle, techstep, Photek-style neurofunk, speedy garage and 2 step.

Dubstep’s roots stem from the more experimental recordings of British Garage artists, who sought to incorporate elements of drum ‘n’ bass into a two-step garage sound. The moods of the genre are usually dark; tracks often use a minor key and may contain dissonant harmonies, such as a tritone interval in the riff. Compared to other styles of garage music, dubstep tends to be more minimalist, focusing on prominent low frequencies.

Dubstep rhythms are usually syncopated, often shuffled or include deadlifts. The tempo is almost always in the 138-142 beats per minute range, with a clap or trap usually inserted every third beat in a measure.

One of the characteristic features of dubstep is the wobbling bass, often called “woob,” where extended bass notes are rhythmically manipulated. This style of bass is usually created by using a low-frequency oscillator to manipulate certain synth parameters such as volume, distortion or filter clipping. The final sound is a timbre that is interspersed with rhythmic changes in volume, filter cut or distortion.

Initially, dubstep releases had some structural similarities to other genres such as drum and bass and British garage. There’s usually an intro, a main section (often with a bass drop), a middle section, a second main section similar to the first (often with a different drop) and an exit.

Electro house

Electro house is a musical genre, characterized by heavy bass and tempo of about 130 beats per minute. Its origins were influenced by tech house and electro. The term has been used to describe the music of many DJs, including Benny Benassi, Daft Punk, Skrillex and Steve Aoki.

Electro-house is characterized by its heavy bassline. It is often performed in the form of buzzing bass lines, such as those created with sawtooth waves and distortion. A powerful bass drum sound is used in the 4/4 size. The tempo of electro house is usually from 125 to 135 beats per minute. Electro house sometimes resembles tech house, but it can contain melodic elements as well as samples and synths.

Subgenres

Big room

In the early 2010s, a type of electro house known as Big room began to develop, especially gaining popularity through EDM-oriented events and festivals such as Tomorrowland. Big room then began to move away from the classification of the electro house sub-genre and began to develop as a genre in its own right. Big room compositions resemble Dutch house, often incorporating drops, minimalist percussion, regular beats, multi-level sub-bass beats, simple melodies and synth-based drops. The Big room track layout is very similar to that of a typical electro house track. Big room is considered a subgenre of electro house.

Complextro

Complextro is characterized by glitchy, intricate bass lines and textures created by abrupt instrument clipping in quick succession. The term, portmanteau from the words “complex” and “electro,” was coined by Porter Robinson to describe the sound of music he was making in 2010. He cited the sounds of video games or chiptunes as an influence on this style of music along with the analog synth music of the 1980s. Other artists of the genre include Adventure Club, Kill The Noise, Knife Party, Lazy Rich, The M Machine, Madon Mord Fustang, Virtual Riot and Wolfgang Gartner.

Dutch house

Dutch house, sometimes referred to as “dirty Dutch,” is a style of electro house that originated in the Netherlands and gained prominence by 2009. The genre is primarily defined by complex rhythms made from Latin American drum sets, less emphasis on bass lines and screechy, high-pitched lead synths. The sub-genre has been influenced by Detroit techno, hip-hop and other urban music styles.

Fidget house

Fidget house, or fidget house, is characterized by stripped-down vocal snippets, messy bass lines with bent pitch, and synthesized 4/4 beats. It contains influences from Chicago house, Detroit techno, Baltimore club, Kuduro, Pimba and hip-hop.

Trap music (EDM)

EDM trap is a style of electronic dance music (EDM) that originated in the mid-2000s and early 2010s. It combines elements of trap-music, an offshoot of southern hip-hop, with elements of EDM such as build-ups, dips and breakdowns. The diversity of performers stimulated the Trap movement in pop music and EDM.

Trap music (EDM) comes from techno, dub and Dutch House, as well as southern hip-hop in the late 2000s and early 2010s. This form of music can be simplified with three features: 1/3 hip-hop; 1/3 Dance Music (Hardstyle) and 1/3 dub .

In the second half of 2012, Trap electronic music becomes more popular and has a noticeable impact on the dance music scene. Musicians and fans initially referred to the music simply as “trap,” which led to the term “trap” being used to refer to music by both rappers and electronic musicians, contributing to confusion among followers of both trends. Instead of referring to one genre, the term “trap” was used to describe two separate genres: hip-hop and dance music. The new wave has been referred to by some as Trap EDM to distinguish it from rap. The terms “Trap-house” and “Trapstep” are often referred to by musicians to describe the musical structure of an individual track. Evolving Trap EDM has witnessed the inclusion and stylistic influence of dubstep, with Trap being called a replacement for dubstep in the mid-2010s.

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Circuit bending

Circuit bending is a genre at the intersection of music and radio engineering. The idea is to take a child’s electronic piano or a talking toy and make them sound in a new way. To do this, the electronic circuitry of the instrument is re-soldered (hence the name).

Musicians of this genre often started their careers with an accidental find: for example, digging up an old children’s synthesizer in the garage. It is obvious that such an instrument sounds bad. If you fiddle with its electronic circuitry, the sounds it produces become so disgusting that you even start to like it. It is enough to open the case and randomly short-circuit the various contacts to see the result. Usually, it starts to change the pitch, there are strange effects, glitches, slowing down or speeding up the signal. It is not even necessary to study radio engineering, the main thing is to take something unnecessary as a “test subject”. And a battery-powered one, so you don’t get an electric shock.

It’s worth it: musicians get new and unique sounds that can’t be found in sample libraries. Artisanal synthesizer effects give your tracks more personality and make them stand out from the music you create with a standard set of plug-ins.

Some enthusiasts assemble really sophisticated instruments from old junk. This is how entire organs are created from toy singing hamsters and synthesizers from dozens of Gameboys.

Musician Reed Ghazal is recognized as the father of the genre. He began to solder his own synthesizers back in the sixties, not having the money to buy a proper instrument. The idea proved successful and paved the way for him to collaborate with many top artists. According to him, anyone can find a grandmother’s synthesizer at a flea market and do crazy things with it without any knowledge of electronics or radio engineering. All you have to do is put your finger on the pins to use your body as a variable resistor – and watch the effects. In this way, says Ghazal, man and machine merge into a single circuit. All in all, another cyberpunk we deserve.

Representatives of the genre: Modified Toy Orchestra, Amps for Christ, Dan deacon, Look Mum No Computer.

8-bit music

Eight-bit music gets its name from the eight-bit processors of early PCs and game consoles, primarily the Commodore 64 and Atari 2600.

Their audio chips could only play a limited number of audio tracks (voices). Each track could play only one note at a time. For example, the Nintendo Entertainment System (better known in our area as the Dendy) had five voices. Each could only play a specific waveform:

• A square one (for melody);
• A second square (for melody);
• Triangular (for bass parts);
• Noise (for percussion);
• Channel for in-game sounds.

The Commodore 64 computer, on the other hand, had only three voices. But each of them could play any waveform and change them on the fly. This created a more variegated sound palette. Yamaha later released even more advanced audio chips with FM synthesis. These became the hallmark of arcade machines and PCs of the eighties. They had nine voices and were even used in some of the company’s synthesizers. All of these products gave rise to the genre of eight-bit music.

Eight-bit tracks, despite their simplicity and angularity, are firmly ingrained in the brain. Technical limitations and specificity create a truly hit sound. First, the creators of the next game had only a few kilobytes to store the music, so the compositions were usually very unpretentious. They were mostly repetitions of a few simple and catchy tunes. Second, the use of a tempo and musical harmony characteristic of pop music. Usually it was 120-160 bpm and C Major (as, for example, in the famous Super Mario).

Today, the eight-bit sound is often mixed with other instruments. This is how a subgenre of chiptune emerged. Old-school sounds are crossed with different genres of electronic music, rock and metal, forming unusual combinations. Today it’s easier than it sounds: a lot of synthesizers and instruments are produced on appropriate audio chips. For example, Machinae Supremacy created the soundtrack for the game Jets’n’Guns in this combination.
Retro Dendy console + 300 games + light gun

Representatives of the genre: Crystal Castles, Anamanaguchi, Sabrepulse, Bondage Fairies, Bit Shifter.

Demoscene

Demoscene is a close relative of eight-bit music – both originated on the Commodore 64. But the demoscene is not just about music. It’s about an entire culture created around the capabilities of the PC. It’s usually spectacular demonstration videos to music, generated on a computer in real time.

The demoscene originated in the screensavers for hacked programs on the Commodore 64. Hackers would modify their code to add their animated logo to groovy music.

With time these screensavers started to become more complicated, there were more animations, there were no more logos, but various messages to the audience or other hackers… As the result, the screensavers in front of the hacked programs became a separate genre of demoscene: a combination of music, graphics and code. They are enclosed in a specific file (demo), usually extremely small in size.

The release of the Commodore Amiga computers opened up even more possibilities. Their audio chips could work with samples. Third-party sounds could be loaded into the PC’s memory, not just those that the audio chip could generate. The music was sealed in a file containing both samples and notes. The software to handle these files is called a tracker. Therefore, music in this genre came to be called tracker music. Creating such compositions is more like programming than music making.

It is tracker music that plays in keigs for programs hacked by pirates – some even collect them. Trackers have influenced many electronic musicians. Deadmau5 and Erez Eisen of Infected Mushroom used Impulse Tracker in their early work. Over time, the PCs became more powerful, the demos became more and more evocative, and the music became more complex and less eight-bit. But, of course, the synthetic sound didn’t go anywhere.

The demoscene is fueled by offline meetings – demoparties. The bands’ works are demonstrated there, the voting is held and the best ones are awarded. In addition, the genre was featured on the soundtracks of the video games Deus Ex, System Shock and Unreal.

Representatives of the genre are Farbrausch, Haujobb, Andromeda Software Development, Alexander Brandon, Peter Hajba, Michiel van den Bos and Dan Gardopee, Thomas J. Bergersen, etc. There is even a corresponding online radio.

Black midi

MIDI is a type of digital signal by which electronic musical instruments “communicate” with a PC and with each other. Parts for synthesizers and samplers are recorded in this format. A MIDI file usually contains a notation of a piece of music that you can open in an audio editor.

You can load such a file into tutorial programs like Synthesia. The application will visually display the parts in real time to learn how to play the keys. The process is similar to the Guitar Hero game.

Complex pieces are displayed particularly spectacularly in such programs due to the large number of notes. With time, MIDI scores of different tracks began to be specially complicated by multiple copying of parts. The result was an interesting visualization and a strange sound. At that, there were literally millions of notes on the sheet music, and that is why it became completely black. That is how the Black Midi genre appeared.

A characteristic feature of the genre is the almost complete absence of original melodies. Most of the compositions in it are covers of famous tracks. The second important point: all parts of the musical composition are voiced only by the piano. Therefore, the composers have to go to different tricks. For example, the drum is imitated by a short strike on all keys – a sharp percussion sound is produced.

It is not difficult to notice the influence of eight-bit music on the genre: the high speed and the use of tricks to enrich the primitive sound. In addition, for a long time, the most popular tracks for Black Midi covers were the music from the Touhou series of games. This is a Japanese bullet hell kind of scrolling shooter where you fly around the screen and shoot everything, dodging thousands of shells. The creator of the series of games is one man, he also writes for them eight-bit music. The fan community has made thousands of covers for it in every possible genre, from orchestrations to Black Midi proper.

Demogroups try to squeeze the maximum out of computer hardware for a spectacular audiovisual demonstration. Black Midi artists do about the same, but have found a more different approach. Watching tens of thousands of falling notes per second is just as addictive as watching a 3D visualization. Some musicians draw pictures and even animations with notes. At the same time, the tracks load the processor so much, that even the top hardware starts to slow down: some glitches and croaks appear.

It’s interesting that the composer Conlon Nancarrow created works with unplayable parts at a frantic pace for a mechanical piano long before all these MIDI were invented. It’s even more difficult to listen to the rest of the track, but it’s just as addictive to watch the notes fall apart.

Genre representatives: ZUN (creator of Touhou), kakakaito1998 (YouTube user, who uploaded the very first track in the genre), TheTrustedComputer.

Oscilloscope Music

An oscilloscope is an instrument for studying the amplitude of a signal. For example, it can visually display an audio wave. One day, someone figured out how to plug a synthesizer into the oscilloscope. The left channel was displayed on the X axis and the right channel on the Y axis. Thus, each note got its own visual representation.

And then there’s more. You can select chords and harmonies that not only sound interesting, but also look effective on the spectrogram. You get a full-fledged video sequence that is generated in real time. Therefore, the genre is somewhat reminiscent of the demoscene: also spectacular animation with strange music. But here the visuals won’t just be a pretty picture chosen as the theme, they will be the music itself.

The music component of the genre is quite specific. Sounds should not only sound nice, but also look good, so complex pictures sound like noise, and simple – like eight-bit music. For example, a circle is two simple sine waves out of phase. If you add anything else to them, the figure collapses, so there are fairly strict restrictions on the music. On the other hand, even ordinary chords already look quite spectacular on an oscilloscope.

You can compose Oscilloscope Music without the oscilloscope – the VST plugins are enough (Waveform, ZGame Editor Visualizer). Then, using any synthesizer, you can experiment and create your own visuals.

I must say, that even before the genre was invented, some musicians were encrypting the messages in the oscillogram of their tracks. For example Aphex Twin ciphered in it his grimace, and the composer of the new DOOM painted one of the tracks with pentagrams.

Representatives of the genre: Jerobeam Fenderson (the creator of the genre), Chris Allen AKA Cromagbot. Some authors publish their works in thematic groups on Reddit.

The post More than Sound: The Weirdest Genres of Electronic Music appeared first on Wave_7.

Trance appeared on the UK rave scene in the late 1980s and was further developed in Germany in the early 1990s before spreading throughout the rest of Europe as a more melodic offshoot of Techno and House. The genre was formed in the Indian state of Goa. Trance is mostly instrumental, although vocals can be mixed: usually sung from mezzo-soprano to soprano for the female voice, often without the traditional verse and chorus structure. The structured vocal form in trance music is at the heart of the vocal trance subgenre, which has been described as “great, soaring and operatic” and “ethereal female voices floating among synthesizers.” Trance is broken down into several sub-genres, including Acid Trance, Classic Trance, Hard Trance, Progressive Trance, and Uplifting Trance.

Goa trance

Goa Trance is a style of electronic music that originated in the late 1980s in Goa, India. Goa Trance often has quirky, humming bass lines similar to the techno minimalism of 21st century Psy Trance.

The music has its roots in Goa, which was the hippie capital of the late 1960s and early 1970s. Musical developments included elements of industrial music, new rhythm, electronic body music (EBM) and the spiritual culture of India. But the real style of Goa Trance did not emerge until the early 1990s. The music played was a mixture of styles defined as Techno, New Beat and various genres of “computer music”. For example: High Energy Disco without vocals, Acid House, Electro, Industrial Gothic, various House styles and Electronic Rock hybrids. The style was distributed on audio cassettes by traveling collectors and DJs. Electronic music was transcribed from tape to tape. Goa DJs were in an underground scene, unbeknownst to labels and the music industry.

Among the DJs playing in Goa during the 1980s were Fred Disko, Dr Bobby, Stephano, Paulino, Mackie, Babu, Laurent, Ray, Fred, Antaro, Lui, Rolf, Tilo, Pauli, Rudi and Goa Gil. The style of music was eclectic based on instrumental dub tracks that evoked mystical, cosmic, psychedelic and existential moods.

By 1990-1991, Goa had become a popular party destination and was no longer a secretive scene: the scene became bigger. Goa-style parties have spread around the world since 1993. A lot of labels in different countries (UK, Australia, Japan, Germany) devoted themselves to the promotion of psychedelic electronic music, reflecting the spirit of Goa parties. The golden age and first wave of Goa Trance came between 1994 and 1997.

Sound

The original purpose of the music was to allow dancers to experience a state of collective bodily transcendence, similar to ancient shamanic dance rituals, through hypnotic, pulsating melodies and rhythms. Goa Trance electronic music has an energetic rhythm, often in the standard 4/4 dance size. The typical track usually builds up to a much more energetic rhythm in the second half, and then winds down fairly quickly towards the end. The tempo is usually in the 130-150 beats per minute range, although some tracks may have a tempo of only 110 or 160 beats per minute. Typically, 8-12 minute Goa Trance tracks focus on a steady build-up of energy, using changes in percussion patterns and more complex and layered synthesized parts as the music progresses to create a hypnotic feel.

The bass drum often has a low, dense sound with noticeable sub-bass frequencies. Electronic music very often includes many sound effects, which are often created by experimenting with synthesizers. The well known sound that originated with Goa trance and became much more common with its successor, which turned Goa trance into a musical genre known as Psytrance, has an organic “husky” sound (usually a sawtooth wave that goes through a resonant bandpass or high-pass filter).

Other music technologies used in Goa Trance include popular analog synthesizers such as the Roland TB-303, Roland Juno-60/106, Novation Bass-Station, Korg MS-10 and, in particular, the Roland SH-101. Hardware samplers made by Akai, Yamaha, and Ensoniq were also popular for sample storage and musical manipulation.

A popular element of Goa Trance is the use of vocal samples, often from science fiction movies. These samples mostly contain references to drugs, parapsychology, extraterrestrial life, existentialism, out-of-body experiences, dreams, science, time travel, spirituality, and mysterious and unconventional themes.

Not just music.

Goa parties are fun and have a certain visual aspect-the use of “flura” (fluorescent paint) is common on clothing and on jewelry such as tapestries. The graphics on these decorations usually relate to such themes as aliens, Hinduism, other religious (especially oriental) images, mushrooms (and other psychedelic art), shamanism and technology. Shrines with religious objects in front of DJs’ consoles are also a common decoration.

Psychedelic trance

Psychedelic trance, Psytrance or Psy is a subgenre of trance music characterized by arrangements of rhythms and layered melodies created on high tempo riffs.

Psytrance lies in the hardcore, underground field of the diverse trance spectrum. The genre offers diversity in terms of mood, tempo, and style. Some examples include Full On, Darkpsy, Forest, Minimal (Zenonesque), Hitech Psy, Progressive, Suomi, Psy Chill, Psycore, Psybient (fusion of psychedelic trance and ambient), Psybreaks or adapted tracks from other music genres.

Styles

Psy Trance has a distinctive, energetic sound that tends to accelerate unlike other forms of trance or techno music with tempos typically ranging from 135 to 150 beats per minute. But Psy Trance can reach 190 beats per minute, 200 beats per minute, 210 beats per minute and even 300 beats per minute. He uses a very distinctive bass rhythm that’s constant throughout the song and overlays the bass with different rhythms taken from funk, techno, acid house, and Eurodance. Different leads and rhythms usually change every eight bars. Layers are used to create a psychedelic effect. New musical ideas are added at regular intervals, often every four to eight bars. New layers will be added until a climax is reached, and then the song breaks down and begins a new rhythmic pattern over a constant bass line. Psychedelic trance tracks are usually six to ten minutes long.

Progressive

Progressive Trance is one of the most common themes at parties. It is usually played in the afternoon or on a second dance floor. Since the mid-2010s, its popularity has increased, to the point where it is often referred to as Psytrance. Examples include musicians from the Serbian label TesseracTstudio, such as Zyce, Talpa, E-Clip, Flegma, Shivatree, ILAI, Sideform, Manmachine, Vertex, Sonic Entity, Relativ, Arhetip. Other musicians in this sub-genre include Vini Vici, Astrix, Psycrain, Ritmo, Protonica and Major7.

Full-On

Full-On is a psychedelic trance style, which is particularly popular in Israel. This genre has high energy at peak moments, often having melodic, energetic and clear bass lines with a fast tempo (usually 140 to 148 beats per minute). There are several related styles that are derived from this style and are distinguished as varieties of Full-On: Twilight and Night Full-on (or Dark Full-on), with bolder and lower notes on the bass lines, Mourning (light, good and happy) and Uplifting.

Darkpsy

Darkpsy is a heavier sub-genre of the psychedelic trance spectrum with tempos around 148 beats per minute or more. Related styles include Psycore (fast and crazy), Hi-tech (upbeat and killer), and Forest (organic and earthy). Characterized by a darker, deeper and more eschatological background that leads to a deep meditation on death, night and transcendence, often with somber sounds and heavy bass lines.

Suomisaundi

Suomisaundi (also known as Spugedelic Trance or Freeform Psy) is an experimental genre that emerged in Finland in the mid-1990s. Popular artists and bands include Luomuhappo and Texas Faggott.

Breakbeat hardcore, jungle, drum and bass

By the early 1990s, a musical style had emerged on the rave scene that was different from American House and Techno. This music, like Hip-Hop before it, combined sampled syncopated rhythms and beats, samples from a wide range of different music genres and, sometimes, samples of dialogues and sounds from movies and TV programs. Compared to earlier styles of dance music such as house and techno, so-called “rave music” tended to emphasize bass sounds and use faster tempos or beats per minute. This sub-genre was known as Hardcore rave. Since 1991 some music tracks consisting of break rhythms with high tempos, with heavy bass lines and samples of old Jamaican music were called Jungle Techno. The genre was shaped by Jack Smooth and Basement Records. Later just Jungle, which became a separate genre, popular at raves and on pirate radio in Britain.

Breakbeat hardcore

Breakbeat Hardcore (also called Oldschool Rave Hardcore) is a genre of hardcore music from the late 1980s and early 1990s that combines four-quarter size beats with accented bass drumming and is associated with the British rave scene. The genre also includes jumbled samples of drum machines, upbeat piano and old-school sounds.

In its early years, the underground sound was widespread. Even without radio, many hybrid and regional styles made it to the top 20 charts. However, in the early 1990s, the three main divisions of this underground rave movement were House, Techno and New Beat, or Breakbeat hardcore. Around 1993 this scene fragmented and split into Jungle (which later gave birth to Drum’n’Dass) and Happy Hardcore. The Jungle sound was more focused on bass lines, often with jazzy undertones, while Happy Hardcore retained a rave sound, 4/4 drumming and happier piano elements. An almost independent evolution of styles hit “bleep and bass”, brutalist techno, hardcore jungle, pop-rave, UK garage and ragga-techno.

Jungle

Jungle is electronic music, which appeared in England in the early 1990s as part of the British rave scene. Coming out of Breakbeat hardcore, the style is characterized by fast beats (often 150-200 beats per minute), dub reggae bass lines, heavily syncopated drum loops, samples and synthesized effects. Long offset drums are common in old school Jungle. Jungle was a precursor to Drum’n’Dass.

Musicians create drum patterns by cutting funk and jazz compositions. Jungle performers use slow, deep bass lines and simple melodies found in dub, reggae and dancehall as well as elements of hip-hop and techno.

Drum and bass

Drum and bass (drum’n’bass, drum & bass, D&B, DnB or “D’n’B”) is electronic music characterized by fast beats (usually 160-180 beats per minute) with heavy bass and sub bass lines, sampled melodies and synths. The style grew out of Hardcore and Jungle in the UK in the early 1990s. D&B was mainly influenced by the original dub and Jamaican sound. Another feature of the style is the complex syncopation of the drums.

Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk (aka liquid drum and bass), jump up, drumfunk, funkstep, sambass and drill ‘n’ bass. Drum and bass has influenced many other genres such as hip hop, big beat, dubstep, house, trip-hop, ambient, techno, jazz, rock and pop. Drum and bass remains most popular in the UK, although it has conquered scenes all over the world in countries such as the United States, Germany, the Netherlands, South Africa, Belgium, New Zealand, Greece, Canada, Austria, the Czech Republic, Slovakia, Slovenia and Australia.

Rhythmic Composition.

Many drum and bass tracks contain more than one sampled beat and a technique of switching between two breaks after each measure. The relatively fast drum beat forms a canvas on which the musician can create tracks to suit almost any taste, and often forms just the background for other elements of the music. The syncopated beats remain the most distinctive element, as without them a high tempo 4/4 dance track would be classified as Techno or Gabber.

The intricate syncopation of a drum track is another aspect of creativity that musicians can spend a great deal of time on. It is generally accepted that the Amen break was the most common (and often considered the most powerful) beat in drum’n’bass.

Bass Elements.

This genre attaches great importance to the bass line. A deep sub-bass musical pattern that can be felt physically through powerful sound systems. Bass lines come from discrete sources or synthesizers. Bass played with a bass instrument, whether electric, acoustic or double bass, is less common, but examples can be found in the work of musicians such as Shapeshifter, Squarepusher, Pendulum, Roni Size and STS9.

Tempo

DnB tends to be in the 160-180 beats per minute range, unlike other breakbeat-based dance styles such as new-school break, which maintain a slower tempo around 130-140 beats per minute. During the development of drum’n’bass, there was a general trend of increasing tempo. The earliest forms of drum and bass in 1990/1991 reached 130 beats per minute and, reaching 155-165 beats per minute by 1993. Since 1996, drum and bass tempos have largely remained in the 170-180 range. More recently, some musicians have started releasing slower tempo tracks again (that is, in the 150-170 beats per minute range), but a tempo of 170 beats is still a hallmark of DnB.

A track that combines the same elements (beat beat, bass, production technique) as a drum’n’bass track, but with a slower tempo (say, 140 beats per minute) may not be drum’n’bass.

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Post-disco

The Post-disco era, resulting from the negative reaction to Disco caused by drug use at parties, which began in mid-to-late 1979 and which led to civil unrest, including one in Chicago known as Disco Demolition Night. Post-disco is an underground movement of “trimmed down” disco-inspired music, displaying a radically different sound. It began to emerge on the East Coast. This new scene originated primarily in New York City and was initially promoted by urban musicians who were responding to the over-commercialization and subsequent decline of disco culture. The sound that emerged from P-Funk is the electronic side of Disco, Dub and other genres. Much of the music created at the time was geared toward a narrow market. At that time, creativity began to shift to independent record labels, to lesser-known producers and club DJs. Other dance styles that became popular during the Post-disco era include Dance-Pop, Boogie, Electro, Hi-NRG, Italo Disco, House and Techno.

Electro

In the early 1980s Electro emerged as an amalgamation of Electro-pop, Funk and Boogie. Also called Eletro Funk or Electro Boogie, but later shortened to Electro. The pioneers of the style were Ryuichi Sakamoto, Afrika Bambaataa, Zapp, D.Train and Sinnamon. Early Hip-Hop and Rap combined with German and Japanese Electro Pop, such as Kraftwerk and Yellow Magic Orchestra, inspired the birth of Electro. As the electronic sound evolved, instruments such as bass and drums were replaced by synthesizers, most notably the iconic drum machines, particularly the Roland TR-808. Early uses of the TR-808 include several Yellow Magic Orchestra tracks from 1980-1981, the 1982 Afrika Bambaataa track Planet Rock, and the 1982 Marvin Gaye song Sexual Healing. Planet Rock was influenced by the Yellow Magic Orchestra, which used Kraftwerk samples and drum beats created on the TR-808. Later that year Planet Rock was followed by another breakthrough electronic music, Nunk by Warp 9. In 1983, Hashim created an Electro Funk sound with Al-Naafyish (The Soul) that influenced Herbie Hancock, resulting in his hit Rockit that same year. The early 1980s was a major Electro peak. According to Steve Taylor, Planet Rock Afrika Bambaataa serves as “a model for all interesting dance music since then.”

House music

House was created by musicians from Chicago’s underground club culture in the early to mid-1980s. This electronic music, was a form of musical bricolage (transforming the meaning of objects or symbols through new uses or unconventional reworkings of unrelated things). Early House synthesized elements of different genres and styles from Disco, Italo Disco, Synthy Pop, Funk, Soul, Latino and Jazz. Although House showed some characteristics of Disco, it was more electronic, repetitive and minimalist. House is closely related to the more complex and even more minimalist Techno, which developed in parallel with Chicago House in Detroit.

The genre was first introduced by DJs and producers mainly from Chicago and New York such as Frankie Knuckles, Larry Levan, Ron Hardy, Jesse Saunders, Chip E., Steve “Silk” Hurley, Farley “Jackmaster” Funk, Mr. Fingers, Marshall Jefferson, Phuture and others. It was originally associated with the black LGBT American subculture, but eventually spread into the mainstream. It became a global phenomenon with numerous subgenres such as Acid House, Deep House, Garage House, Hip House, Ghetto House, Progressive House, Tech House, Electro House, Microhouse and many others.

House as electronic music has had and continues to have a huge influence on pop music in general and dance music in particular. It has been picked up by major pop artists such as Madonna, Kylie Minogue and Janet Jackson. Many artists have made and are making remixes for pop artists. Today, House remains popular on the radio and in clubs, while maintaining an underground position around the world.

Characteristics

In its most typical form of “classic” Chicago House, this genre is characterized by repetitive rhythms in 4/4 size. Electronic music includes bass drums, unconventional hi-hats, snare drums and/or claps at a tempo of 110 to 130 beats per minute. Synthesizer riffs, deep bass lines and often, but not necessarily, sung, spoken or sampled vocals. House drum beats are almost always synthesized by a drum machine, often a Roland TR-808, TR-909, or TR-707, rather than a live drummer. One classic sub-genre, Acid House, features noise-like sounds created by a Roland TB-303 bass synth.

Compositions are usually structured with an intro, a chorus, various verse sections, a middle, and an outro. Some compositions have no verse, with the vocal part coming from the chorus and repeating the same loop. House is often based on bass loops or bass lines created by a synthesizer, and/or taken from Disco, Soul or Funk songs.

Deep House

Deep house is a genre of house music that originated in the 1980s, originally combining elements of Chicago House with 1980s Jazz Funk and Soul notes. This style can evoke an acoustic feel.

Characteristics

Deep House electronic music is characterized by tempos typically between 110 and 125 beats per minute, deep muted bass lines (using a Roland Juno synthesizer), extensive use of percussive elements (using a Roland TR-909 drum machine), soft synth sounds (pads), use of advanced chord structures, ambient mixes and soulful vocals. The lyrics usually focus on positive, uplifting or moody blues. In the early compositions (1986-89), the influence of jazz music was most often evident in the use of more complex chords, which were used in many bars and gave the compositions a slightly dissonant feel. Sound qualities include soulful vocals (if vocals are present), slow and concentrated pleasant dissonant melodies, and smooth, stylish and chic performances. Female vocals are used more often than male vocals. Deep House rarely climaxes, but remains comfortable, hypnotic and with a relaxing sound.

Techno, acid house, rave

By 1988 House had become the most popular form of club music in Europe, and in the same year the development of Acid House became a major trend in the UK and Germany. A warehouse party subculture based on the British-African-Caribbean scene formed in the UK, which fueled underground afterparties that featured exclusively danceable electronic music. It was during this period that MDMA came to prominence as a club drug. The main British clubs were Back to Basics in Leeds, Leadmill and Music Factory in Sheffield and Haçienda in Manchester, where Mike Pickering and Graham Park’s Nude became a testing ground for American underground dance music. The success of House and Acid House paved the way for Detroit Techno, a style originally supported by house music clubs in Chicago, New York and Northern England. The term Techno first came into use after the release of a 10 Records / Virgin Records compilation called Techno: The Dance Sound of Detroit in 1988.

Techno is dance electronic music that originated in Detroit, USA in the mid to late 1980s. Techno is typically repetitive instrumental music, often created for use in a continuous DJ set. The basic size is 4/4, while the tempo usually ranges from 120 to 150 beats per minute. Electronic music involves musicians using electronic instruments such as drum machines, sequencers and synthesizers, as well as workstations with digital sound. Drum machines from the 1980s, such as the Roland TR-808 and TR-909, are highly regarded, and software emulations of such retro instruments are popular.

The style emerged from the fusion of House, Funk and Electro with the technopop of musicians such as Kraftwerk, Giorgio Moroder and the Yellow Magic Orchestra. To this should be added the influence of futuristic and sci-fi themes relevant to life in late capitalist society. Some performers see the style as an expression of technological spirituality. The work of Detroit techno-musicians in the mid-1980s Juan Atkins, Derrick May, and Kevin Sanderson (collectively known as Belleville Thre) is usually seen as the foundation on which a number of techno-genres were built.

As mentioned above, the term Techno emerged as the name of the 1988 compilation Techno! The New Dance Sound of Detroit. In the following years Techno electronic music spread to European countries, such as Germany and Great Britain, where such subgenres as Acid, Hardcore, Ambient and Dub Techno would develop. Music journalists and Techno fans tend to use the term selectively. Therefore, a clear distinction can be made between sometimes related, but often qualitatively different styles, such as Tech House and Trance.

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