1.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
2.
Experimental music
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The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
3.
Noise music
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Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound, Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. Some of the music can feature acoustically or electronically generated noise, there may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony, in many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Jimi Hendrixs use of feedback, Lou Reeds Metal Machine Music, genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one definition of noise in music is not possible. According to Murray Schafer there are four types of noise, unwanted noise, unmusical sound, any sound. Definitions regarding what is considered noise, relative to music, have changed over time, ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro and he defines noise at different times as intrusive, unwanted, lacking skill, not being appropriate and a threatening emptiness. He traces these trends starting with 18th-century concert hall music, Hegarty contends that it is John Cages composition 433, in which an audience sits through four and a half minutes of silence, that represents the beginning of noise music proper. Writing about Japanese noise music, Hegarty suggests that it is not a genre, but it is also a genre that is multiple, Japanese noise music can come in all styles, referring to all other genres. But crucially asks the question of genre—what does it mean to be categorized, in Noise, The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society. He indicates that noise in music is a predictor of social change, like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution, Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a signal with a flat power spectral density. In other words, the signal contains equal power within a fixed bandwidth at any center frequency, White noise is considered analogous to white light which contains all frequencies
4.
Punk rock
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Punk rock is a rock music genre that developed in the early to mid-1970s in the United States, United Kingdom, and Australia. Rooted in 1960s garage rock and other forms of what is now known as proto-punk music, Punk bands typically produced short or fast-paced songs, with hard-edged melodies and singing styles, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY ethic, many bands self-produce recordings and distribute them through informal channels, the term punk was first used in relation to rock music by some American critics in the early 1970s, to describe garage bands and their devotees. The following year saw punk rock spreading around the world, for the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment, by the beginning of the 1980s, faster, more aggressive styles such as hardcore and street punk had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a range of other variations, giving rise to post-punk. At the end of the 20th century, punk rock had been adopted by the mainstream, as pop punk and punk bands such as Green Day. The first wave of rock was aggressively modern, distancing itself from the bombast. According to Ramones drummer Tommy Ramone, In its initial form, unfortunately, what happens is that people who could not hold a candle to the likes of Hendrix started noodling away. Soon you had endless solos that went nowhere, by 1973, I knew that what was needed was some pure, stripped down, no bullshit rock n roll. In critic Robert Christgaus description, It was also a subculture that rejected the political idealism. Technical accessibility and a DIY spirit are prized in punk rock, in the early days of punk rock, this ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands. Musical virtuosity was often looked on with suspicion, according to Holmstrom, punk rock was rock and roll by people who didnt have very many skills as musicians but still felt the need to express themselves through music. In December 1976, the English fanzine Sideburns published an illustration of three chords, captioned This is a chord, this is another, this is a third. The title of a 1980 single by the New York punk band Stimulators, inscribed a catchphrase for punks basic musical approach. The previous year, when the rock revolution began in Great Britain, was to be both a musical and a cultural Year Zero. As a Clash associate describes singer Joe Strummers outlook, Punk rock is meant to be our freedom, were meant to be able to do what we want to do. Scholar Daniel S. Traber argues that attaining authenticity in the identity can be difficult, as the punk scene matured, he observes
5.
Psychedelic rock
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Many psychedelic groups differ in style, and the label is often used indiscriminately. Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, some of the earlier 1960s psychedelic rock musicians were based in folk, jazz, and the blues, while others showcased an explicit Indian classical influence called raga rock. In the 1960s, there existed two main variants of the genre, the whimsical British pop-psychedelia, and the harder American West Coast acid rock. While acid rock is often deployed interchangeably with the psychedelic rock, it can also refer more specifically to the heavier. The genre bridged the transition from early blues- and folk-based rock to rock and hard rock. Since the late 1970s it has revived in various forms of neo-psychedelia. The term psychedelic was first coined in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. As the countercultural scene developed in San Francisco, the acid rock. In the popular music of the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with form, arrangements, unnatural reverb. Some of the best known examples are Phil Spectors Wall of Sound production formula, there was no transition to be made. You go from things like Flying Purple People Eater to I Am the Walrus, music critic Richie Unterberger says that attempts to pin down the first psychedelic record are therefore nearly as elusive as trying to name the first rock & roll record. Some of the far-fetched claims include the instrumental Telstar and the Dave Clark Fives massively reverb-laden Any Way You Want It, the first mention of LSD on a rock record was the Gamblers 1960 surf instrumental LSD25. American folk singer Bob Dylan was an influence on mid 1960s rock music. He led directly to the creation of rock and the psychedelic rock musicians that followed. Molly Longman of mic. com writes that, in terms of bridging the relationship between music and hallucinogens, the Beatles and the Beach Boys were the eras most pivotal acts. The considerable success enjoyed by these two bands allowed them the freedom to experiment with new technology over entire albums. In Unterbergers opinion, the Byrds, emerging from the Californian folk scene, with their ominous minor key melodies, hyperactive instrumental breaks, and use of Gregorian chants. In the songs lyric, the requests, Take me on a trip upon your magic swirling ship
6.
Art pop
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Art pop is a loosely defined style of pop music influenced by pop art and postmodernisms integration of high and low culture. Art pop artists have explored ideas such as status as commercial art, notions of artifice, the self as a construction. Starting in the mid 1960s, British and American pop musicians began incorporating the ideas of the pop art movement, English art pop musicians drew from their art school studies, while in America the style intersected with the Beat Generation and folk musics subsequent singer-songwriter movement. The genre further developed with artists who rejected conventional rock instrumentation and structure in favor of dance styles, the 2010s saw new art pop trends develop, such as hip hop artists drawing on visual art and vaporwave artists exploring elements of contemporary capitalism. Sociomusicologist Simon Frith has distinguished the appropriation of art pop music as having a particular concern with style, gesture. Central to particular purveyors of the style were notions of the self as a work of construction and artifice, as well as a preoccupation with the invention of terms, imagery, process, and affect. Cultural theorist Mark Fisher wrote that the development of art pop evolved out of the triangulation of pop, art, Frith states that it was more or less directly inspired by Pop art. Writers for The Independent and the Financial Times have noted the attempts of art pop music to distance its audiences from the public at large, the Independents Nick Coleman wrote, Art-pop is partly about attitude and style, but its essentially about art. It is, if you like, a way of making pure formalism socially acceptable in a pop context, the boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century. In the 1960s, pop musicians such as John Lennon, Syd Barrett, Pete Townshend, Brian Eno, and Bryan Ferry began to take inspiration from their previous art school studies. Frith states that in Britain, art school represented an escape route for the bright working class kids. In North America, art pop was influenced by Bob Dylan and the Beat Generation, another chief influence on the development of art pop was the Pop art movement. The term Pop art, first coined to describe the value of mass-produced goods, was directly applicable to the contemporary phenomenon of rock. According to Frith, turned out to signal the end of Romanticism, progressive rock was the bohemians last bet. In this context the key Pop art theorist was not Hamilton or any of the other British artists who, for all their interest in the market, remained its academic admirers only. For Warhol the significant issue wasnt the relative merits of high and low art, in the words of author Matthew Bannister, Wilson and Spector were both known as eremitic studio obsessives. Habitually absented themselves from their own work, and like Warhol, Spector existed not as presence, both vastly successful commercial artists, and both simultaneously absent and present in their own creations. The Beach Boys singles California Girls, God Only Knows, as the dominant format of pop music transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish
7.
Performance art
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Performance art is a performance presented to an audience within a fine art context, traditionally interdisciplinary. Performance may be scripted or unscripted, random or carefully orchestrated. The performance can be live or via media, the performer can be present or absent and it can be any situation that involves four basic elements, time, space, the performers body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any type of venue or setting, the actions of an individual or a group at a particular place and in a particular time constitute the work. Performance art is a contested concept, any single definition of it implies the recognition of rival uses. As concepts like democracy or art, it implies productive disagreement with itself, the meaning of the term in the narrower sense is related to postmodernist traditions in Western culture. The ideal had been an ephemeral and authentic experience for performer, the widely discussed difference, how concepts of visual arts and concepts of performing arts are utilized, can determine the meanings of a performance art presentation. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand, some kinds of performance art nevertheless can be close to performing arts. Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about what art is. Some artists, e. g. the Viennese Actionists and neo-Dadaists, prefer to use the terms live art, action art, actions, as genres of performance art appear body art, fluxus-performance, happening, action poetry, and intermedia. Performance art activity is not confined to European or American art traditions, notable practitioners can be found in Asia, Performance artists and theorists point to different traditions and histories, ranging from tribal to sporting and ritual or religious events. There are also accounts of Renaissance artists such as itinerant poets putting on performances that could be said to be ancestors of performance art. Western cultural theorists often trace performance art activity back to the beginning of the 20th century, to the Russian constructivists, Futurists, Dada provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. Russian Futurist artists could be identified as precursors of performance, such as David Burliuk, abstract expressionism and Action painting preceded the Fluxus movement, Happenings and the emergence of Performance Art. Performance art was anticipated, if not explicitly formulated, by Japans Gutai group of the 1950s, in the late 1960s Earth artists as diverse as Robert Smithson, Dennis Oppenheim, Michael Heizer and Carl Andre created environmental pieces that predict the performance art of the 1970s. Works of conceptual artists in the early 1980s, like Sol LeWitt, who converted mural-style drawing into an act of performance by others, were influenced by Yves Klein and the Earth artists as well. In the 1960s a variety of new works, concepts and the number of artists led to new kinds of performance art. Kaprow had coined the term Happening describing a new artform, at the beginning of the 1960s, a Happening allows the artist to experiment with body motion, recorded sounds, written and spoken texts, and even smells
8.
Electronic musical instrument
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An electronic musical instrument is a musical instrument that produces sound using electronics. Such an instrument sounds by outputting an electrical signal that ultimately drives a loudspeaker. An electronic instrument might include a user interface for controlling its sound, often by adjusting the pitch, frequency, all electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are called sound effects, the border between sound effects and actual musical instruments is often hazy. Electronic musical instruments are now used in most styles of music. Development of new musical instruments, controllers, and synthesizers continues to be a highly active. In the 18th-century, musicians and composers adapted a number of instruments to exploit the novelty of electricity. The former instrument consisted of an instrument of over 700 strings. The latter was an instrument with plectra activated electrically. However, neither instrument used electricity as a sound-source, the first electric synthesizer was invented in 1876 by Elisha Gray. The Musical Telegraph used steel reeds oscillated by electromagnets and transmitted over a telephone line, Gray also built a simple loudspeaker device into later models, which consisted of a diaphragm vibrating in a magnetic field. A significant invention, which later had an effect on electronic music, was the audion in 1906. This was the first thermionic valve, or vacuum tube and which led to the generation and amplification of signals, radio broadcasting. Other early synthesizers included the Telharmonium, the Theremin, Jörg Magers Spharophon and Partiturophone, Taubmanns similar Electronde, Maurice Martenots ondes Martenot, only two models of this latter were built and the only surviving example is currently stored at the Lomonosov University in Moscow. It has been used in many Russian movies—like Solaris—to produce unusual, Hugh Le Caine, John Hanert, Raymond Scott, composer Percy Grainger, and others built a variety of automated electronic-music controllers during the late 1940s and 1950s. In 1959 Daphne Oram produced a method of synthesis, her Oramics technique, driven by drawings on a 35 mm film strip. In 1897 Thaddeus Cahill patented an instrument called the Telharmonium, using tonewheels to generate musical sounds as electrical signals by additive synthesis, it was capable of producing any combination of notes and overtones, at any dynamic level. This technology was used to design the Hammond organ
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Singing
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Singing is the act of producing musical sounds with the voice, and augments regular speech by the use of sustained tonality, rhythm, and a variety of vocal techniques. A person who sings is called a singer or vocalist, Singers perform music that can be sung with or without accompaniment by musical instruments. Singing is often done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists, Singers may perform as soloists, or accompanied by anything from a single instrument up to a symphony orchestra or big band. Singing can be formal or informal, arranged or improvised and it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort, or ritual, as part of music education, or as a profession. Excellence in singing requires time, dedication, instruction, and regular practice, if practice is done on a regular basis then the sounds can become more clear and strong. Professional singers usually build their careers around one specific genre, such as classical or rock. They typically take voice training provided by teachers or vocal coaches throughout their careers. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort, exhalation may be aided by the abdominal, internal intercostal and lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals, scalenes and sternocleidomastoid muscles, the pitch is altered with the vocal cords. With the lips closed, this is called humming, humans have vocal folds which can loosen, tighten, or change their thickness, and over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced. Sound also resonates within different parts of the body and an individuals size, Singers can also learn to project sound in certain ways so that it resonates better within their vocal tract. This is known as vocal resonation, another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds. These different kinds of function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singers Formant and it has also been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa. The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds, Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a series of tones, produced in the same vibratory pattern of the vocal folds
10.
Grindcore
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Grindcore is an extreme genre of music that originated in the early to mid-1980s. It draws inspiration from some of the most abrasive-sounding genres, including punk, extreme metal, industrial. Early groups like Napalm Death are credited with laying the groundwork for the style and it is most prevalent today in North America and Europe, with popular contributors such as Brutal Truth and Nasum. Lyrical themes range from a focus on social and political concerns, to gory subject matter. A trait of grindcore is the microsong, several bands have produced songs that are only seconds in length. British band Napalm Death holds the Guinness World Record for shortest song ever recorded with the one-second You Suffer, many bands, such as Agoraphobic Nosebleed, record simple phrases that may be rhythmically sprawled out across an instrumental lasting only a couple of bars in length. Another offshoot is electrogrind which incorporates electronic music such as sampling. Although influential within hardcore and extreme metal, grindcore remains a form of music. Grindcore evolved as a blend of metal and hardcore punk. The name derives from the fact that grind is a British term for thrash, Grindcore relies on standard hardcore punk instrumentation, electric guitar, bass and drums. However, grindcore alters the usual practices of metal or rock music in regard to song structure, the vocal style is ranging from high-pitched shrieks to low, throat-shredding growls and barks. In some cases, no clear lyrics exist, vocals may be used as merely an added sound effect, a common practice with bands such as the experimental Naked City. A characteristic of some songs is the microsong, lasting only a few seconds. In 2001, the Guinness Book of World Records awarded Brutal Truth the record for Shortest Music Video for 1994s Collateral Damage, in 2007, the video for the Napalm Death song You Suffer set a new Shortest Music Video record,1.3 seconds. It is also not uncommon for albums to be very short when compared to other genres, usually consisting of a large track list. Many grindcore groups experiment with down-tuned guitars, while the vinyl A-side of Napalm Deaths debut, 1987s Scum, is set to standard tuning, on side B, the guitars are tuned down 2½ steps. Their second album From Enslavement to Obliteration and the Mentally Murdered EP were tuned to C♯, Harmony Corruption, their third full-length album, was tuned up to a D. Bolt Thrower went further, dropping 3½ steps down, bass is tuned low as well, and is often distorted
11.
Intelligent dance music
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Intelligent dance music is a genre of electronic music that emerged in the early 1990s. Its creation was influenced by developments in dance music such as Detroit techno. Stylistically, IDM tended to rely upon individualistic experimentation rather than adhering to musical characteristics associated with specific genres of dance music, the range of post-techno styles that emerged in the early 1990s were described variously as art techno, ambient techno, intelligent techno, and electronica. In the United States, the latter is used as a catchall term to describe not only downtempo or downbeat/non-dance electronic music. In 2014, music critic Sasha Frere-Jones observed that the term is widely reviled and he regards UK acts Aphex Twin and Autechre as central to the evolution of the genre. In 1992, Warp released Artificial Intelligence, the first album in the Artificial Intelligence series. Subtitled electronic listening music from Warp, the record was a collection of tracks from such as Autechre, B12, The Black Dog, Aphex Twin and The Orb. Steve Beckett, co-owner of Warp, has said the music that the label was releasing then was targeting a post-club. At the same time, the UK market was saturated with increasingly frenetic breakbeat, in 1993, a number of new intelligent techno/electronica record labels emerged, including New Electronica, Mille Plateaux, 100% Pure, and Ferox Records. In November 1991, the phrase intelligent techno appeared on Usenet in reference to Coils The Snow EP. Off the Internet, the phrase appeared in both the U. S. & UK music press in late 1992, in reference to Jam & Spoons Tales from a Danceographic Ocean. Another instance of the phrase appeared on Usenet in April 1993 in reference to The Black Dogs album Bytes, the first message, sent on 1 August 1993, was entitled Can Dumb People Enjoy IDM, Too. Kirk and The Future Sound of London, and even artists like System 7, William Orbit, Sabres of Paradise, Orbital, Plastikman and Björk. By the end of 1996, Boards of Canada and the Schematic Records label were among the topics of discussion, alongside perennial favorites like Aphex Twin. As of 2015, the mailing list is still active, warps second Artificial Intelligence compilation was released in 1994. The album featured fragments of posts from the IDM mailing list incorporated into typographic artwork by The Designers Republic, sleeve notes by David Toop acknowledged the genres multitude of musical and cultural influences and suggested none should be considered more important than any other. Lesser-known artists on the Likemind label and Kirk Degiorgios A. R. T, in the mid-1990s, North American audiences welcomed IDM, and many IDM record labels were founded, including Drop Beat, Isophlux, Suction, Schematic and Cytrax. In Miami, Florida, labels like Schematic, Merck Records, Nophi Recordings and The Beta Bodega Coalition released material by such as Phoenecia, Dino Felipe, Machinedrum
12.
Noise rock
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Noise rock is a diverse style of experimental rock that spun off from punk rock in the 1980s. Some groups are tied to song structures, such as Sonic Youth, while the music had been around for some time, the term noise rock was coined in the 1980s to describe an offshoot of punk groups with an increasingly abrasive approach. An archetypal album is the Velvet Undergrounds White Light/White Heat, treblezines Joe Gross credits the cult classic with being the first noise rock album, accordingly, perhaps it’s an obvious starting point, but it’s also the starting point. Sonic Youths Thurston Moore explained, Noise has taken the place of punk rock, people who play noise have no real aspirations to being part of the mainstream culture. Punk has been co-opted, and this subterranean noise music and the folk scene have replaced it. Starting in the 1990s, noise punk developed mostly as a form of party music, with the band Lightning Bolt serving as key players in the 2000s noise punk scene in Providence, Rhode Island
13.
Power electronics (music)
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It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics. Deeply atonal, there are no conventional melodies or rhythms, tellus Audio Cassette Magazine produced a compilation compact cassette tape called Power Electronics in 1986 that was curated by Joseph Nechvatal. Death industrial is an industrial subgenre typified by an atmosphere, low-end drones, harsh loops. It can be differentiated from power electronics by a slower, more atmospheric sound reminiscent of dark or ritual ambient, and a less abrasive sound. Artists described as death industrial include Brighter Death Now, Anenzephalia, Atrax Morgue, Aelia Capitolina, Author & Punisher, Genocide Organ, Hieronymus Bosch, Stratvm Terror, Electronics, IRM, Genocide Lolita and Dead Mans Hill
14.
Electro-industrial
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Electro-industrial is a music genre drawing on EBM and post-industrial that developed in the mid-1980s. While EBM has a structure and clean production, electro-industrial has a deep, complex. The style was pioneered by Skinny Puppy, Front Line Assembly, in the early 1990s, the style spawned the dark electro genre, and in the mid-/late-1990s, the aggrotech offshoot. The fan base for the style is linked to the rivethead subculture, after the EBM movement faded in the early 1990s, electro-industrial increasingly attained popularity in the international club scene. In contrast to the straight EBM style, electro-industrial groups use harsher beats and raspy, distorted, in contrast to industrial rock, electro-industrial groups mostly avoided guitars, other than Skinny Puppy, who used E-Guitar Elements since the mid 80s in songs like Testure or Dig It. Electro-industrial was anticipated by 1980s groups such as SPK, Die Form, Borghesia, Klinik, Skinny Puppy, since the mid-1990s, some electro-industrial groups added guitars and became associated with industrial metal, other groups, e. g. Skinny Puppy, Download, Gridlock and Haujobb, have incorporated elements of electronic music styles like drum and bass, IDM, glitch. Electro-industrial groups tend to feature themes of control, dystopia, electro-industrial groups sometimes take aesthetic inspiration from horror films, including The Exorcist and the work of Roman Polanski, and the science fiction films Blade Runner and Alien. Dark electro is a style, developed in the early 1990s in central Europe. The term describes groups such as yelworC and Placebo Effect, and was first used in December 1992 with the announcement of Brainstorming. The style was inspired by the music of The Klinik and Skinny Puppy, compositions included horror soundscapes, and grunts or distorted vocals. YelworC were a group from Munich, formed in 1988. They laid the foundations of the electro movement in the early 1990s. In subsequent years, dark electro was displaced by techno-influenced styles such as aggrotech and futurepop. Other groups to practice the style included Das Ich, amGod, Trial, early Evils Toy, Mortal Constraint, Arcana Obscura, Splatter Squall, Seven Trees, Tri-State, GGFH, and Ice Ages. Aggrotech, is a form of electro-industrial with a strong influence from the hardstyle/hard trance music that first surfaced in the mid-late-1990s. Aggrotech typically employs aggressive beats, prominent lead synth lines, often, vocals are distorted and pitch-shifted to sound harsh and synthetic. List of industrial music festivals List of electro-industrial bands
15.
Dark ambient
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Dark ambient is a genre of post-industrial music that features foreboding, ominous, or discordant overtones, some of which were heavily inspired by elements of ambient music. The term was coined in the early 1990s by Roger Karmanik to describe the music of Raison dêtre and is associated with the Cold Meat Industry record label. Dark ambient has its roots in the 1970s, with the introduction of newer, smaller, early genre elements can be found on Throbbing Gristles 1978 album D. o. A, The Third and Final Report of Throbbing Gristle. These artists make use of principles such as noise and shock tactics. Many of these artists are eclectic in their output, with much of it falling outside of ambient industrial, dark ambient has vibrated also into contemporary classical music. The example can be some solo works of composer Vladimír Hirsch, for example, entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires. Generally the music tends to evoke a feeling of solitude, melancholy, confinement, however, while the theme in the music tends to be dark in nature, some artists create more organic soundscapes. Examples of such productions are those of Oöphoi, Alio Die, Mathias Grassow, Tau Ceti, List of dark ambient artists List of electronic music genres
16.
Industrial hip hop
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Industrial hip hop is a fusion genre of industrial music with the rhythms or vocals of hip hop. The origins of hip hop are in the work of Mark Stewart, Bill Laswell. In 1985, former Pop Group singer Mark Stewart released As the Veneer of Democracy Starts to Fade, in the late 1980s, Laswells Material project began to take increasing influence from hip hop. Adrian Sherwood was a figure in British dub, as well as working with industrial groups such as Cabaret Voltaire, Einstürzende Neubauten, Ministry, KMFDM. Tackhead, a collaboration between Sherwood and the Sugar Hill band, picked up where Mark Stewart left off, the Disposable Heroes of Hiphoprisy, from San Francisco, and Meat Beat Manifesto, from the UK, are also early representatives of the style. Industrial hip hop groups tend to take a deal of influence from Public Enemys intensity, volume. The industrial group 23 Skidoo, Miles Daviss album On the Corner, industrial hip hop was carried forward by figures from a diverse number of scenes. Perhaps the most unlikely adopters were Justin Broadrick and Mick Harris, previously known for their invention of the style of extreme metal. After participating in the jazzcore group Pain Killer with Bill Laswell, Harriss Scorn project delved into dark ambient, subsequently, Broadrick began to work with Kevin Martin, previously of God. The later work of Broadricks Godflesh, as well as his collaborations with Martin, Ice, Techno Animal, the last of these was also a collaboration with Alec Empire, from Berlin, who also participated in the style in a number of his albums. The German label Mille Plateaux developed the sound throughout their series of Electric Ladyland compilations, Ice and Techno Animal also collaborated at times with El-P and other representatives of the Def Jux label. DJ Spookys illbient style is related to these developments in industrial hip hop. Industrial rock band Acumen Nation adopts hip hop influences, as does the side project DJ. A few other bands that combine hip hop elements in their music are Rabbit Junk, The Mad Capsule Markets, and The Shizit. Atari Teenage Riot have also known to incorporate hip hop elements in some of their songs. In the electro-industrial/industrial metal genre there is Steril, notable for combining hip hop beats, dj scratches, the Kompressor, often uses vocal distortion in the style of many Aggrotech artists. The industrial super group The Damage Manual is known to incorporate hip hop with their music, in beats. Corporate Avenger the rap metal band, often does industrial hip hop in their music
17.
Industrial metal
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Founding industrial metal acts include Ministry, Godflesh, and KMFDM. Industrial metal developed in the late 1980s, as industrial and heavy metal began to fuse into a common genre, in the early years of the 21st century, groups from the black metal scene began to incorporate elements of industrial music. Industrial metal did well in the early 1990s, particularly in North America, the industrial metal movement began to fade in the latter half of the 1990s. Though electric guitars had used by industrial artists since the early days of the genre. British post-punk band Killing Joke pioneered the crossing over between styles, and was an influence on industrial metal bands such as Ministry, Godflesh. Another pioneer industrial rock group, Big Black, also impacted some later groups, by the late 1980s industrial and heavy metal began to fuse into a common genre, with Godfleshs self-titled EP and Ministrys The Land of Rape and Honey at the forefront. Godflesh was founded by former Napalm Death guitarist Justin Broadrick, though not a top-seller, Godflesh nonetheless became an influential act, their name mentioned by Korn, Metallica, Danzig, Faith No More, and Fear Factory. Ministry emerged from the scene surrounding Wax Trax, Records, a Chicago label dedicated to industrial music. Ministrys initial foray into guitar rock happened during a session of The Land of Rape and Honey on Southern Studios. The bands frontman, the Cuban-born Al Jourgensen, explained this transition, after the release of Land, he recruited guitarist Mike Scaccia from Texas thrashers Rigor Mortis. On one occasion, Jourgensen told the press that Sepultura was his favorite band and he also expressed the desire to produce a Metallica album. German band KMFDM was another seminal industrial metal group, although not a metal fan, KMFDM leader Sascha Konietzkos infatuation with ripping off metal licks stemmed from his experiments with E-mus Emax sampler in late 1986. He told Guitar World that, A Swiss trio, The Young Gods, brushed with the style on their second album, the rivethead subculture also developed at this time, along with the so-called coldwave subgenre, which encompassed Chemlab,16 Volt, and Acumen Nation. Some electro-industrial groups adopted industrial metal techniques in this period, including Skinny Puppy, british band Pitchshifter, formed in 1989 by brothers Jon and Mark Clayden, also started as an industrial metal band. The band later included elements of drum and bass, frontman JS mentions Industrial metals popularity led a number of successful thrash metal groups, including Megadeth, Sepultura, and Anthrax, to request remixes by industrial artists. Some musicians emerging from the metal scene, such as Fear Factory, Nailbomb. Fear Factory, from Los Angeles, were influenced by the Earache roster. The German band Oomph. after their debut album Sperm started to play Industrial metal combined with elements of death metal, Sepultura singer Max Cavaleras Nailbomb, a collaboration with Alex Newport, also practiced a combination of extreme metal and industrial production techniques
18.
Industrial rock
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Industrial rock is a musical genre that fuses industrial music and specific rock subgenres. Like most industrial subgenres, industrial rock is generally dark. Experimental 60s group Cromagnon are said to have one of the bands that helped foresee the birth of industrial rock. Specifically, their song Caledonia has been noted for its pre-industrial stomp, Industrial music was created in the mid- to late 1970s, amidst the punk rock revolution and disco fever. Prominent early industrial musicians include Throbbing Gristle, Cabaret Voltaire, NON, SPK, many other artists have been cited as influences such as Kraftwerk and Gary Numan and Tubeway Army as well as Einstürzende Neubauten. Many other musical performers were incorporating industrial-musical elements into a variety of musical styles, some post-punk performers developed styles parallel to industrial musics defining attributes. Pere Ubus debut, The Modern Dance, was described as industrial, so was San Franciscos Chrome, who mixed Jimi Hendrix, The Sex Pistols and tape music experiments, and Killing Joke, considered by Simon Reynolds as a post-punk version of heavy metal. According to Chris Connelly, Foetus is the instigator when it comes to the marriage of machinery to hardcore punk, the New York City band Swans were inspired by the local No Wave scene, as well as punk rock, noise music and the original industrial groups. Steve Albinis Big Black followed a path, while also incorporating American hardcore punk. Big Black has also been associated with post-hardcore and noise rock. Industrial rocks true commercial breakthrough took place with the rise of the metal bands, Ministry, Marilyn Manson. Records Nothing Records Industrial rock musical groups Industrial rock sales and awards List of industrial music bands Blush, concrete, Bulletproof, Invisible + Fried, My Life as a Revolting Cock. The Mojo Collection, The greatest albums of all time, rip it up and start again, Postpunk 1978-1984. Atari Teenage Riot,60 second wipe out
19.
Neofolk
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Neofolk is a form of folk music-inspired experimental music that emerged from post-industrial music circles. The genre encompasses an assortment of themes. Neofolk musicians often have ties to other such as neoclassical and martial industrial. Anglo-American folk music with sounds and themes to neofolk existed as far back as the 1960s. Folk musicians such as Vulcans Hammer, Changes, Leonard Cohen, also the later explorations of Velvet Undergrounds band members, specifically those of Lou Reed, have been called a major influence to what later became neofolk. A majority of artists within the neofolk genre focus on archaic, cultural, local traditions and indigenous beliefs tend to be portrayed heavily as well as esoteric and historical topics. Various forms of neopaganism and occultism play a part in the themes touched upon by many modern, runic alphabets, heathen European sites and other means of expressing an interest in the ancient and ancestral occurs often in neofolk music. Aesthetically, references to this subject occur within band names, album artwork, clothing and this has led to some forefathers of the genre and current artists within the genre attributing it to being an aspect of a broader neopagan revival. As a descriptor, apocalyptic folk predates neofolk and was used by David Tibet to describe the music of his band Current 93 during a period in the late 1980s and early 1990s. Initially, Tibet did not intend to imply connection with the music genre, rather. Tibet and Current 93 did dabble in covers of traditional English folk song, other vague terms sometimes used to describe artists of this genre include dark folk and pagan folk. These terms are umbrella terms that describe various other forms of unrelated music. Martial industrial or military pop is a genre that shares a lot in common with neofolk, anton Shekhovtsov, Apoliteic music, Neo-Folk, Martial Industrial and metapolitical fascism, Patterns of Prejudice, Vol.43, No. Peter Webb, Exploring the Networked Worlds of Popular Music, Milieu Cultures, andreas Diesel und Dieter Gerten, Looking for Europe - Neofolk und Hintergründe, ISBN 3-936878-02-1
20.
Synth-pop
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Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. 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 genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late-1970s to the mid-1980s. In Japan, Yellow Magic Orchestras success opened the way for bands such as P-Model, Plastics. The development of polyphonic synthesizers, the definition of MIDI. This, its adoption by the acts from the New Romantic movement, together with the rise of MTV. Synth-pop is sometimes deployed interchangeably with electropop, but electropop may also denote a variant of synth-pop that places emphasis on a harder. In the late 1980s duos such as Erasure and Pet Shop Boys adopted a style that was successful on the US dance-charts. Some artists and bands were criticised for gender bending, Synth-pop was defined by its primary use of synthesizers, drum machines and sequencers, sometimes using them to replace all other instruments. Borthwick and Moy have described the genre as diverse but, many synth-pop musicians had limited musical skills, relying on the technology to produce or reproduce the music. The result was often minimalist, with grooves that were woven together from simple repeated riffs often with no harmonic progression to speak of. Early synth-pop has been described as eerie, sterile, and vaguely menacing, using droning electronics with little change in inflection, common lyrical themes of synth-pop songs were isolation, urban anomie, and feelings of being emotionally cold and hollow. Synthesizers were increasingly used to imitate the conventional and clichéd sound of orchestras, thin, treble-dominant, synthesized melodies and simple drum programmes gave way to thick, and compressed production, and a more conventional drum sound. Lyrics were generally optimistic, dealing with more traditional subject matter for pop music such as romance, escapism. According to music writer Simon Reynolds, the hallmark of 1980s synth-pop was its emotional, at times operatic singers such as Marc Almond, Alison Moyet and Annie Lennox. Because synthesizers removed the need for groups of musicians, these singers were often part of a duo where their partner played all the instrumentation. Later synth-pop saw a shift to a style influenced by other genres. Electronic musical synthesizers that could be used practically in a recording studio became available in the mid-1960s, the portable Minimoog, which allowed much easier use, particularly in live performance was widely adopted by progressive rock musicians such as Richard Wright of Pink Floyd and Rick Wakeman of Yes
21.
Chiptune
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Chiptune, also known as chip music or 8-bit music, is synthesized electronic music which is made for programmable sound generator sound chips used in vintage computers, consoles, and arcade machines. The term also refers to tracker format music which sounds similar to older PSG-created music and music that combines PSG sounds with modern musical styles. By the early 1980s, personal computers became less expensive and more accessible than they had previously been and this led to a proliferation of outdated personal computers and game consoles that had been abandoned by consumers as they upgraded to newer machines. They were in low demand by consumers as a whole, and not difficult to find, while it has been a mostly underground genre, chiptune has had periods of moderate popularity in the 1980s and 21st century, and has influenced the development of electronic dance music. The terms chip music and chiptune refer to music made by the sound chips found within early gaming systems, a waveform generator is a fundamental module in a sound synthesis system. A waveform generator usually produces a basic geometrical waveform with a fixed or variable timbre, common waveform generator configurations usually included two or three simple waveforms and often a single pseudo-random-noise generator. Available waveforms often included pulse wave, square wave, triangle wave, two notable examples of systems employing this technology comprise the Game Boy and the Commodore 64. The Game Boy uses two pulse channels, a channel for 4-bit PCM playback, and a pseudo-random-noise generator, the Commodore 64, however, used the MOS Technology SID chip which offered 3 channels, each switchable between pulse, saw-tooth, triangle, and noise. Unlike the Game Boy, the channels on the Commodore 64 allowed full control over wave duty cycles. The SID was a technically advanced chip, offering many other features including ring modulation. Due to limited number of voices in those primitive chips, one of the challenges is to produce rich polyphonic music with them. The usual method to emulate it is via quick arpeggios, which is one of the most relevant features of chiptune music, the earliest precursors to chip music can be found in the early history of computer music. In 1951, the computers CSIRAC and Ferranti Mark 1 were used to perform real-time synthesized digital music in public. One of the earliest commercial computer music albums came from the First Philadelphia Computer Music Festival, held August 25,1978, the First Philadelphia Computer Music Festival recordings were published by Creative Computing in 1979. The Global TV program Science International credited a PDP-11/10 for the music, Chiptune music began to appear with the video game music produced during the golden age of video arcade games. An early example was the tune in Tomohiro Nishikados arcade game Gun Fight. The first video game to feature continuous background music was Rally-X. It was also one of the earliest games to use a converter to produce sampled sounds
22.
Downtempo
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Downtempo is a genre of electronic music similar to ambient, but with a greater emphasis on rhythm, and is not as earthy as trip hop. The 1990s brought on a wave of slower paced music which was played throughout chillout rooms—the relaxation sections of the clubs or dedicated sections at electronic music events. Downtempo music started to surface around Ibiza, when DJs and promoters would bring down the vibe with slower rhythm and gentler electronic music upon approaching sunrise. In the late 1980s, trip hop emerged from Bristol, which combined elements of hip hop beats, drum and bass breaks, at the end of the 1990s a more melodic instrumental electronica incorporating acoustic sounds with electronic styles emerged under its own umbrella name of downtempo. In the late 1990s, the Austrian duo Kruder & Dorfmeister popularized the style with their downtempo remixes of pop, hip-hop, and drum and bass tracks with influences of the 70s soul jazz. Britons Steve Cobby and Dave McSherry, producing under the name Fila Brazillia, released a handful of downtempo, electronica and ambient techno albums that propelled the style further. In 2010, downtempo pop was described by The Atlantic as a variety of styles from the 2000s characterized by mellow beats, vintage synthesizers. In other words, a term that includes chillwave, glo-fi
23.
Drum and bass
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Drum and bass is a genre and branch of electronic music which emerged from rave and oldschool jungle scenes in England during the early 1990s. The style is characterised by fast breakbeats with heavy bass and sub-bass lines, sampled sources. The popularity of drum and bass at its peak ran parallel to several other homegrown dance styles in the UK including big beat. Drum and bass incorporates a number of scenes and styles, a major influence on jungle and drum and bass was the original Jamaican dub and reggae sound. Another feature of the style is the syncopation of the drum tracks breakbeat. Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk, deep, drumfunk, funkstep, sambass, dnbnoise, from its roots in the UK, the style has established itself around the world. Drum and bass has influenced other genres like hip hop, big beat, dubstep, house, trip hop, ambient music, techno, rock. Drum and bass is dominated by a small group of record labels. The major international labels have shown very little interest in the drum. But rave music tended to feature stronger bass sounds and a faster tempo beats per minute than that of early house music and it is important to note when discussing the history of drum and bass that prior to jungle, rave music was getting faster and more experimental. Professional DJ and producer C. K. states, There was a progression as far as the speed of music is concerned, anyone buying vinyl every week from 1989 to 1992 noticed this. By 1994, jungle had begun to gain popularity and fans of the music became a more recognisable part of youth subculture. However, this developed in tandem with the positive reputation of the music as part of the wider rave scene. As the genre became more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations. It also began to split into subgenres such as jump-up. The popularity of drum and bass at its peak ran parallel to several other homegrown dance styles in the UK including big beat. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles. London DJ/producer C. K. says, It is often forgotten by my students that a type of music called garage house existed in the late 1980s alongside hip house, acid house and other forms of house music
24.
Dub music
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Dub is a genre of music that grew out of reggae in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Other techniques include dynamically adding extensive echo, reverb, panoramic delay, Dub was pioneered by Osbourne King Tubby Ruddock, Lee Scratch Perry, Errol Thompson and others in the late 1960s. Augustus Pablo is credited with bringing the melodica to dub, and is also among the pioneers and creators of the genre, similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. Dub has influenced many genres of music, including rock, pop, hip hop, disco, and later house, techno, ambient, electronic dance music, the verb dub is defined as making a copy of one recording to another. The term dub had multiple meanings in Jamaica around the time of the musics origin, in concert, the order dub this one. Meant put an emphasis on bass and drums, drummer Sly Dunbar points to a similar interpretation, relating the term dubwise to using only drums and bass. Another possible source was the term dub plate, as suggested by Augustus Pablo, the word duppy also relates to dub through Jamaicas history of intra-racial terror, violence, and murder that is often overlooked in favor of Jamaican ideologies of racial solidarity. The ghosts of these victims, or duppies, are thought to be captured best within the dub instrumentals, a version is a record with the vocals removed, the alternative cut of a song made for the DJ to toast over. These versions were used as the basis of new songs by rerecording them with new elements, the instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. Another hallmark of the dub sound is the prominent use of bass guitar, the music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be augmented by live DJs. There is usually an organic feel to the music, even though the effects are electronically created. Often these tracks are used for toasters rapping heavily rhymed and alliterative lyrics, in forms of sound system based reggae, the performer using a microphone is referred to as the DJ or deejay, and the person choosing the music and operating the turntables is called the selector. A major reason for producing multiple versions was economic, a producer could use a recording he owned to produce numerous versions from a single studio session. A version was also an opportunity for a producer or remix engineer to experiment, Dub music and toasting introduced a new era of creativity in reggae music. From their beginning, toasting and dub music developed together and influenced each other, in 1968, Kingston, Jamaica sound system operator Rudolph Ruddy Redwood went to Duke Reids Treasure Isle studio to cut a one-off dub plate of The Paragons hit On The Beach. Engineer Byron Smith left the track out by accident, but Redwood kept the result
25.
Dubstep
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Dubstep is a genre of electronic dance music that originated in South London, England. It emerged in the late 1990s as a development within a lineage of related styles such as 2-step garage, dub, techno, drum and bass, broken beat, jungle, and reggae. In the United Kingdom the origins of the genre can be traced back to the growth of the Jamaican sound system party scene in the early 1980s, the music generally features sparse, syncopated drum and percussion patterns with bass lines that contain prominent sub bass frequencies. The earliest dubstep releases date back to 1998, and were featured as B-sides of 2-step garage single releases. These tracks were darker, more experimental remixes with less emphasis on vocals, a very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards. In 2004, the last year of his show, his listeners voted Distance, Digital Mystikz, simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online publications such as Pitchfork, with a regular feature entitled The Month In, Grime/Dubstep. Interest in dubstep grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing the genre, towards the end of the 2000s and into the early 2010s, the genre started to become more commercially successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics noticed a dubstep influence in several pop artists work. The music website Allmusic has described Dubsteps overall sound as tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals. According to Simon Reynolds, Dubsteps constituents originally came from different points in the 1989—99 UK lineage, bleep n bass, jungle, techstep, Photek-style neurofunk, speed garage,2 step. Reynolds comments that the traces of pre-existing styles worked through their intrinsic sonic effects but also as signifiers, Dubsteps early roots are in the more experimental releases of UK garage producers, seeking to incorporate elements of drum and bass into the South London-based 2-step garage sound. These experiments often ended up on the B-side of a label or commercial garage release. Similar to a vocal garage hybrid – grime – the genres feel is commonly dark, tracks frequently use a minor key, other distinguishing features often found are the use of samples, a propulsive, sparse rhythm, and an almost omnipresent sub-bass. Some dubstep artists have incorporated a variety of outside influences. Dubstep rhythms are usually syncopated, and often shuffled or incorporating tuplets, the tempo is nearly always in the range of 138–142 beats per minute, with a clap or snare usually inserted every third beat in a bar. In its early stages, dubstep was often more percussive, with influences from 2‑step drum patterns. A lot of producers were experimenting with tribal drum samples, such as Loefahs early release Truly Dread. One characteristic of certain strands of dubstep is the bass, often referred to as the wub
26.
Electro (music)
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Electro is a genre of electronic music and early hip hop directly influenced by the use of the Roland TR-808 drum machines, and funk. This is the distinction between electro and previously prominent genres such as disco, in which the electronic sound was only part of the instrumentation. It also palpably deviates from its predecessor boogie for being less vocal-oriented, following the decline of disco music in the United States, electro emerged as a fusion of funk and New York boogie. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk, Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, the early 1980s were electros mainstream peak. By the mid 1980s, the genre moved away from its electronic and funk influences, using harder edged beats and rock samples, Electro became popular again in the late 1990s with artists such as Anthony Rother and DJs such as Dave Clarke. A third wave of popularity occurred in 2007, Electro has branched out into subgenres, including Electrocore and Skweee, which developed in Sweden and Finland. From its inception, one of the characteristics of the electro sound was the use of drum machines, particularly the Roland TR-808. As the genre evolved, computers and sampling replaced drum machines in electronic music and it is important to note, that although the electro of the 1980s and contemporary electro both grew out of the dissolution of disco, they are now different genres. Classic electro drum patterns tend to be electronic emulations of breakbeats, with a kick drum. The difference between electro drumbeats and breakbeats is that electro tends to be mechanical, while breakbeats tend to have more of a human-like feel. The definition however is somewhat ambiguous in nature due to the uses of the term. The Roland TR-808 drum machine hit the market in 1980, defining early electro with its immediately recognizable sound, staccato, percussive drumbeats tended to dominate electro, almost exclusively provided by the TR-808. As an inexpensive way of producing a sound, the TR-808 caught on quickly with the producers of early electro because of the ability of its bass drum to generate extreme low-frequencies. This aspect of the Roland TR-808 was especially appealing to producers who would test drive their tracks in nightclubs and its unique percussion sounds like handclaps, open and closed high-hat, clave and cowbell became integral to the electro sound. A number of songs in the early 1980s employed the TR-808, including Marvin Gaye’s “Sexual Healing, ” Cybotron’s “Clear, ” and Afrika Bambaataa’s “Planet Rock. ”The Roland TR-808 has attained iconic status. Through the use of samples, the Roland TR-808 remains popular in electro, most electro is instrumental, but a common element is vocals processed through a vocoder. Additionally, speech synthesis may be used to create robotic or mechanical lyrical content, as in the iconic Planet Rock, although primarily instrumental, early electro utilized rap
27.
Electronic dance music
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Electronic dance music is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals. EDM is generally produced for playback by disc jockeys who create seamless selections of tracks, called a mix, EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. In the United Kingdom and in continental Europe, EDM is more commonly called dance music or simply dance. In the late 1980s and early 1990s, following the emergence of raving, pirate radio, at this time a perceived association between EDM and drug culture led governments at state and city level to enact laws and policies intended to halt the spread of rave culture. By the early 2010s the term dance music and the initialism EDM was being pushed by the US music industry. Early examples of dance music include the disco music of Giorgio Moroder. During the early 1980s, the popularity of disco music declined in the United States, abandoned by major US record labels. European disco continued evolving within the mainstream pop music scene. European acts Silver Convention, Love and Kisses, Munich Machine, and American acts Donna Summer, in 1977, Giorgio Moroder and Pete Bellotte produced I Feel Love for Donna Summer. It became the first well-known disco hit to have a completely synthesised backing track, other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music to provide alternatives to the four on the floor style that dominated. The sound that originated from P-Funk the electronic side of disco, dub music. Much of the music produced during this time was, like disco, at this time creative control started shifting to independent record companies, less established producers, and club DJs. Other dance styles that began to become popular during the era include dance-pop, boogie, electro, Italo disco, house. In the early 1980s, electro emerged as a fusion of funk, also called electro-boogie, but later shortened to electro, cited pioneers include Zapp, D. Train, Sinnamon. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk, as the electronic sound developed, instruments such as the bass guitar and drums were replaced by synthesizers and most notably by iconic drum machines, particularly the Roland TR-808. Early uses of the TR-808 include several Yellow Magic Orchestra tracks in 1980-1981, the 1982 track Planet Rock by Afrikaa Bambaataa, and the 1982 song Sexual Healing by Marvin Gaye. In 1982, producer Arthur Baker with Afrika Bambaataa released the seminal Planet Rock which was influenced by the Yellow Magic Orchestra using Kraftwerk samples, Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, the early 1980s were electros mainstream peak
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