Electronic dance music
Electronic dance music (EDM). Since its inception EDM has expanded to include a wide range of subgenres.
In the late 1980s and early 1990s, following the emergence of
Subsequently, in the new millennium, the popularity of EDM increased globally, particularly in the United States and Australia. By the early 2010s, the term "electronic dance music" and the
History
Various EDM genres have evolved over the last 40 years, for example;
Precursors
In the late 1960s bands such as Silver Apples created electronic music intended for dancing.[7] Other early examples of music that influenced later electronic dance music include Jamaican dub music during the late 1960s to 1970s,[6] the synthesizer-based disco music of Italian producer Giorgio Moroder in the late 1970s, and the electropop of Kraftwerk and Yellow Magic Orchestra in the mid-to-late 1970s.[5]
Dub
Author Michael Veal considers
Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge.
Hip hop
Disco
In 1974, George McCrae's early disco hit "Rock Your Baby" was one of the first records to use a drum machine,[22] an early Roland rhythm machine.[23] The use of drum machines in disco production was influenced by Sly and the Family Stone's "Family Affair" (1971), with its rhythm echoed in McCrae's "Rock Your Baby",[24] and Timmy Thomas' "Why Can't We Live Together" (1972).[25][23][24] Disco producer Biddu used synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest (1976),[26] "Soul Coaxing" (1977),[27] and Eastern Man and Futuristic Journey[28][29] (recorded from 1976 to 1977).[30]
Acts like
Synth-pop
Synth-pop (short for synthesizer pop;[34] also called techno-pop[35][36]) is a music genre that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument.[37] It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the Krautrock of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s.
Early synth-pop pioneers included Japanese group
The use of digital sampling and
Dance music in the 1980s
The emergence of electronic dance music in the 1980s was shaped by the development of several new electronic musical instruments, particularly those from the Japanese Roland Corporation. The Roland TR-808 (often abbreviated as the "808") notably played an important role in the evolution of dance music,[46] after Afrika Bambaataa's "Planet Rock" (1982), made it very popular on dancefloors.[47] The track, which also featured the melody line from Kraftwerk's Trans-Europe Express, informed the development of electronic dance music,[48] and subgenres including Miami bass and Detroit techno, and popularized the 808 as a "fundamental element of futuristic sound".[49] According to Slate, "Planet Rock" "didn't so much put the 808 on the map so much as reorient an entire world of post-disco dance music around it".[50] The Roland TR-909, TB-303 and Juno-60 similarly influenced electronic dance music such as techno, house and acid.[51][52][53]
Post-disco
During the post-disco era that followed the backlash against "
Electro
In the early 1980s, electro (short for "electro-funk") emerged as a fusion of
House music
In the early 1980s, Chicago radio jocks The Hot Mix 5 and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older
"On and On" is sometimes cited as the 'first house record', (1988) entered the pop charts.
The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century.[67][68][69]
Techno, acid house, rave
In the 1980s, Detroit DJs Juan Atkins, Derrick May, and Kevin Saunderson laid the foundation for a new style of music which would dubbed techno. They fused Chicago house influenced electronic and Detroit (including Motown) influenced funk sounds with the mechanical vibes of the post-industrial city, creating the techno sound of four-on-the-floor beat driven by a kick drum on the quarter notes and a snare or high hat on the second, fourth, or eighth notes.
In the mid-1980s house music thrived on the small
By 1988, house music had become the most popular form of club music in Europe, with
One of the first Detroit productions to receive wider attention was Derrick May's "Strings of Life" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987–1988 house music boom (see Second Summer of Love).[77] It became May's best-known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."[78] According to British DJ Mark Moore, "Strings of Life" led London club-goers to accept house: "because most people hated house music and it was all rare groove and hip hop...I'd play 'Strings of Life' at the Mudd Club and clear the floor".[79][Note 2] By the late 1980s interest in house, acid house and techno escalated in the club scene and MDMA-fueled club-goers, who were faced with a 2 a.m. closing time in the UK, started to seek after-hours refuge at all-night warehouse parties. Within a year, in summer 1989, up to 25,000 people at a time were attending commercially organised underground parties called raves.[1]
Dance music in the 1990s
Trance
Trance emerged from the
AllMusic states on progressive trance: "the progressive wing of the trance crowd led directly to a more commercial, chart-oriented sound since trance had never enjoyed much chart action in the first place. Emphasizing the smoother sound of Eurodance or house (and occasionally more reminiscent of Jean-Michel Jarre than Basement Jaxx), Progressive Trance became the sound of the world's dance floors by the end of the millennium. Critics ridiculed its focus on predictable breakdowns and relative lack of skill to beat-mix, but progressive trance was caned by the hottest DJ."[86]
Breakbeat hardcore, jungle, drum and bass
By the early 1990s, a style of music developed within the rave scene that had an identity distinct from American house and techno. This music, much like
By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as
Dance music in the 21st century
Dubstep
Dubstep is a genre of electronic dance music that originated in
The earliest known dubstep releases date back to 1998, and were usually featured as
Electro house
Electro house is a form of
Trap music
Trap music originated from
Terminology
In 1980 English producer Richard James Burgess, and his band Landscape, used the term on the sleeve of the single "European Man": "Electronic Dance Music... EDM; computer programmed to perfection for your listening pleasure." In response to a question about being credited with coining the term New Romantic Burgess has stated that: "Initially I was using three terms – Futurist, Electronic Dance Music (the Landscape singles have EDM printed on them) and New Romantic."[103][104]
Writing in The Guardian, journalist
Production
Electronic dance music is generally composed and produced in a recording studio with specialized equipment such as
Ghost production
A ghost producer is a hired music producer in a business arrangement who produces a song for another DJ/artist that releases it as their own,[107] typically under a contract which prevents them from identifying themselves as a personnel of the song.[108] Ghost producers receive a simple fee or royalty payments for their work and are often able to work in their preference of not having the intense pressure of fame and the lifestyle of an internationally recognized DJ.[107] A ghost producer may increase their notability in the music industry by acquainting with established "big name" DJs and producers.[107] Producers like Martin Garrix and Porter Robinson are often noted for their ghost production work for other producers while David Guetta and Steve Aoki are noted for their usage of ghost producers in their songs whereas DJs like Tiësto have been openly crediting their producers in an attempt to avoid censure and for transparency.[109]
Many ghost producers sign agreements that prevent them from working for anyone else or establishing themselves as a solo artist.[110] Such non-disclosure agreements are often noted as predatory because ghost producers, especially teenage producers, do not have an understanding of the music industry.[110] London producer Mat Zo has alleged that DJs who hire ghost producers "have pretended to make their own music and [left] us actual producers to struggle".[111]
Bedroom production
A
Popularisation
United States
Initially, the popularization of electronic dance music was associated with European rave and club culture and it achieved limited popular exposure in the United States. By the mid-to-late 1990s this began to change as the American music industry made efforts to market a range of dance genres as "
By the mid-2000s, Dutch producer
With the increasing popularity of electronic dance music, promoters and venues realized that DJs could generate larger profits than traditional musicians; Diplo explained that "a band plays [for] 45 minutes; DJs can play for four hours. Rock bands—there's a few headliner dudes that can play 3,000–4,000-capacity venues, but DJs play the same venues, they turn the crowd over two times, people buy drinks all night long at higher prices—it's a win-win."[114] Electronic music festivals, such as Electric Daisy Carnival (EDC) in Las Vegas and Ultra Music Festival in Miami also grew in size, placing an increased emphasis on visual experiences, and DJs who had begun to attain a celebrity status.[3][125] Other major acts that gained prominence, including Avicii and Swedish House Mafia, toured major venues such as arenas and stadiums rather than playing clubs; in December 2011, Swedish House Mafia became the first electronic music act to sell out New York City's Madison Square Garden.[125]
In 2011, Spin declared a "new rave generation" led by acts like David Guetta,
US corporate interest
Corporate
US radio conglomerate
Major brands have also used the EDM phenomena as a means of targeting
In August 2015, SFX began to experience declines in its value,[147] and a failed bid by CEO Sillerman to take the company private. The company began looking into strategic alternatives that could have resulted in the sale of the company.[148][149] In October 2015, Forbes declared the possibility of an EDM "bubble", in the wake of the declines at SFX Entertainment, slowing growth in revenue, the increasing costs of organizing festivals and booking talent, as well as an oversaturation of festivals in the eastern and western United States. Insomniac CEO Pasquale Rotella felt that the industry would weather the financial uncertainty of the overall market by focusing on "innovation" and entering into new markets.[150] Despite forecasts that interest in popular EDM would wane, in 2015 it was estimated to be a £5.5bn industry in the US, up by 60% compared to 2012 estimates.[151]
SFX emerged from bankruptcy in December 2016 as
Criticism of over-commercialization
Following the popularization of EDM in America a number of producers and DJs, including Carl Cox, Steve Lawler, and Markus Schulz, raised concerns that the perceived over-commercialisation of dance music had impacted the art of DJing. Cox saw the "press-play" approach taken by newer EDM DJs as unrepresentative of what he called a "DJ ethos".[125] Writing in Mixmag, DJ Tim Sheridan argued that "push-button DJs" who use auto-sync and play pre-recorded sets of "obvious hits" resulted in a situation overtaken by "the spectacle, money and the showbiz".[160]
Some house producers openly admitted that "commercial" EDM needed further differentiation and creativity. Avicii, whose 2013 album
In May 2014, the NBC comedy series Saturday Night Live parodied the stereotypes of EDM culture and push-button DJs in a Digital Short titled When Will the Bass Drop?. It featured a DJ who goes about performing everyday activities—playing a computer game, frying eggs, collecting money—who then presses a giant "BASS" button, which explodes the heads of concertgoers.[166][167][168]
After years of rapid growth, the American popular EDM market started to wane in 2016 when a number of artists famous for producing so-called 'big room' electro-house started to diversify stylistically. This development was directly referenced by two such DJs – David Guetta and Showtek – in a techno-influenced single released in April 2016 titled 'The Death of EDM'.[169] By the end of the 2010s, EDM's position as the dominant force in mainstream popular music began to plateau as it became displaced by other styles.[105][170]
International
In May 2015, the International Music Summit's Business Report estimated that the global electronic music industry had reached nearly $6.9 billion in value; the count included music sales, events revenue (including nightclubs and festivals), the sale of DJ equipment and software, and other sources of revenue. The report also identified several emerging markets for electronic dance music, including East Asia, India, and South Africa, credited primarily to investment by domestic, as well as American and European interests. A number of major festivals also began expanding into Latin America.[171]
In Ghana, West Africa, an artist named Djsky introduced EDM in 2015–present and organised successful festivals and events such as Hey Ibiza, Sunset music Festival, Sky show and more.[172][173][174][175] In an interview with WatsUp TV, Djsky revealed he was the first to introduce Electronic Music Dance into Ghana music.[176][177]
In Ethiopia EDM has become part of mainstream music after the 2018 breakthrough of a young artist named Rophnan which incorporated EDM sound with traditional rhythms and melodies.[178] In his shows, tens of thousands of youth were packing stadiums across the country and radios started to play the emerging genre.[179][180]
China is a market where EDM had initially made relatively few inroads; although promoters believed that the mostly instrumental music would remove a metaphorical
Social impact
Festivals
In the 1980s, electronic dance music was often played at illegal underground rave parties held in secret locations, for example, warehouses, abandoned aircraft hangars, fields and any other large, open areas. In the 1990s and 2000s, aspects of the underground
Ray Waddell of Billboard noted that festival promoters have done an excellent job at
The popularity of EDM and festivals also led some multi-genre festivals not strongly associated with electronic music, such as
After Ultra Music Festival 2014, where a crowd of gatecrashers trampled a security guard on its first day, Miami's city commissioners considered banning the festival from being held in the city, citing the trampling incident,
COVID-19 Impact
Due to the COVID-19 pandemic, cancellation of festivals, accompanied by the restrictions on social distancing has negatively impacted economic activity of festivals and the music industry.[203] Festivals are required to have regulations on health and safety, as well as deal with crisis and risk management, since they are at high risk due to the mass of people that attend. As a result, it has become normal for festivals or performances to be streamed online.[203]
During 2020, all large EDM music festivals were postponed or canceled due to the COVID-19 pandemic. On March 4, 2020, Ultra Miami was the first electronic dance music festival to cancel an event since the event could not conform to the state's capacity rules and county's safety protocols and regulations.[204] On April 21, 2020, Electric Forest music festival in Rothbury, Michigan rescheduled their event on June 25–27, 2020 to June 2021 due to health concerns.[205] On July 9, 2020, New York City Mayor Bill de Blasio decided that all sizeable events will be suspended through September 30.[206] As a result, Electric Zoo 2020, which takes place on Randall's Island in New York City during Labor Day Weekend, fully canceled their 2020 event.
Electric Daisy Carnival Las Vegas (EDC), the biggest dance music festival in North America, was scheduled to happen on May 15–17, 2020. In April, EDC postponed their May event to October 2–4, 2020, and later declared on August 2 that EDC Las Vegas 2020 would be officially canceled.[207] Instead, EDC CEO Pasquale Rotella announced the celebration of EDC's 25th anniversary on May 21–23, 2021.[208] On April 9, 2021, EDC had not yet released their lineup and COVID-19 safety protocols for the event happening in May 2021.[209] On April 20, 2021, Rotella postponed the festival to October 22–24, 2021.[210]
The cancellations of these events economically hurt the music industry and the companies that run these events. EDC 2020 originally sold out of the 200,000 tickets for their first event, but offered full returns for those who could not make it to new dates.[211] Electric Zoo included an incentive for customers to keep their ticket by providing an extra $50 for General Admission tickets and $100 for VIP tickets to spend on merchandise and food on festival grounds.[212] Most music festival companies offered to rollover the ticket to their next event or give full refunds to those who could not attend, but ultimately lost a lot of customers due to the uncertainty of COVID-19.[203]
Association with recreational drug use
Dance music has a long association with
MDMA is occasionally known for being taken in conjunction with psychedelic drugs. The more common combinations include MDMA combined with LSD, MDMA combined with DMT, MDMA with psilocybin mushrooms, and MDMA with the dissociative drug ketamine. Many users use mentholated products while taking MDMA for its cooling sensation while experiencing the drug's effects. Examples include menthol cigarettes, Vicks VapoRub, NyQuil,[218] and lozenges.
The incidence of nonmedical ketamine has increased in the context of
A number of deaths attributed to apparent drug use have occurred at major electronic music concerts and festivals. The
In September 2016, the city of Buenos Aires, Argentina banned all electronic music events, pending future legislation, after five drug-related deaths and four injuries at a Time Warp Festival event in the city in April 2016. The ban forced electronic band Kraftwerk to cancel a planned concert in the city, despite arguing that there were dissimilarities between a festival and their concerts.[232][233]
Industry awards
Organization | Award(s) | Year(s) | Notes |
---|---|---|---|
BRIT Awards |
British Dance Act | 1994–2004 | The BRIT awards in the UK introduced a "British Dance Act" category in 1994, first won by M People. Although dance acts had featured in the awards in previous years, this was the first year dance music was given its own category. More recently the award was removed as was "Urban" and "Rock" and other genres as the awards removed Genre-based awards and moved to more generalised artist-focused awards. |
Grammy Awards | Best Dance/Electronic Recording | 1998–present | Most recently won (2023) by Skrillex, Fred Again, and Flowdan for "Rumble".[234] |
Best Dance/Electronic Music Album | 2005–present | Most recently won (2023) by Fred Again for Actual Life 3 (January 1 – September 9 2022).[234] | |
DJ Mag | Top 100 DJs poll | 1991–present | The British dance music magazine DJ Mag publishes a yearly listing of the top 100 DJs in the world; from 1991 to 1996 the Top 100 poll were ranked by the magazine's journalists; in 1997 the poll became a public vote. The current number one as of the 2023 list is David Guetta.[235] |
DJ Awards | Best DJ Award | 1998–present | The only global DJ awards event that nominates and awards international DJ's in 11 categories held annually in Ibiza, Spain, winners selected by a public vote[236] and one of the most important.[237] |
Winter Music Conference (WMC) | IDMA: International Dance Music Awards | 1998–present | [238] |
Project X Magazine | Electronic Dance Music Awards | 1995 | Readers of Project X magazine voted for the winners of the first (and only) "Electronic Dance Music Awards". Moonshine Records.[239]
|
American Music Awards | Favorite Dance/Electronic Artist | 2012–present | Most recently won (2022) by Marshmello.[240] |
World Music Awards | Favorite Electronic Dance Music Artist | 2006–present (on hiatus) |
Most recently won (2014) by Calvin Harris.[241] |
See also
(alphabetical)
- Beatport
- Dance music
- Drop (music)
- Freetekno
- Latin freestyle
- List of electronic dance music venues
- List of electronic music genres
- Rave music
- Remix
- Sampling (music)
- Timeline of electronic music genres
Notes
- sociologicalfunction of the music, framing it as one type of music that to have meaning and continuity is kept away, to a large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral and aesthetic codes and values."
- ^ "Although it can now be heard in Detroit's leading clubs, the local area has shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World (New York), The Hacienda (Manchester), Rock City (Nottingham), and Downbeat (Leeds) where the techno sound has found most support. Ironically, the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its name with one of Britain's oldest new romantic groups".[80]
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Around 1986/7, after the initial explosion of house music in Chicago, it became clear that the major recording companies and media institutions were reluctant to market this genre of music, associated with gay African Americans, on a mainstream level. House artists turned to Europe, chiefly London but also cities such as Amsterdam, Berlin, Manchester, Milan, Zurich, and Tel Aviv. ... A third axis leads to Japan where, since the late 1980s, New York club DJs have had the opportunity to play guest spots.
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Detroit's music had hitherto reached British ears as a subset of Chicago house; [Neil] Rushton and the Belleville Three decided to fasten on the word techno – a term that had been bandied about but never stressed – in order to define Detroit as a distinct genre.
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- Joe-Laidler, K.; Hunt, G. (June 1, 2008). "Sit down to float: The cultural meaning of ketamine use in Hong Kong". Addiction Research & Theory. 16 (3): 259–271. PMID 19759834.
- Koskoff, Ellen (2004). Music Cultures in the United States: an Introduction. Routledge. ISBN 9780415965897.
- Rietveld, Hillegonda C. (1998). This is Our House: House Music, Cultural Spaces, and Technologies. Popular Cultural Studies. Vol. 13. Ashgate. ISBN 9781857422429.
- Graham St John, editor. Weekend Societies: Electronic Dance Music Festivals and Event-Cultures, 2017, Bloomsbury Academic
- Trynka, Paul; Bacon, Tony, eds. (1996). Rock Hardware. Balafon Books. ISBN 978-0-87930-428-7.
Further reading
- Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. U.S. Cengage Learning, 2008. ISBN 978-1-59863-503-4
- "Electronic dance music glossary" by Moby for USA Today (December 13, 2011)
- Simplified guide to the various EDM genres with sample tracks: "An Idiot's Guide to EDM Genres"
- Vice Magazine. 2013. Rave Culture, a handy guide for middle America: "Explaining Rave Culture to Americans"
- "Beat Explorers Dance Music Guide" from "BeatExplorers"