Armin van Buuren
Armin Jozef Jacobus Daniël van Buuren OON is a Dutch DJ, record producer and remixer from South Holland. Since 2001, he has hosted A State of Trance, a weekly radio show, broadcast to nearly 40 million listeners in 84 countries on over 100 FM radio stations. According to Djs And Festivals, "the radio show propelled him to stardom and helped cultivate an interest in trance music around the world."Van Buuren has won a number of accolades. He has been ranked the number one DJ by DJ Mag a record of four years in a row, he was ranked fourth on the DJ Mag Top 100 DJs list in 2015 and 2016, third in 2017. In 2014, he was nominated for a Grammy Award for Best Dance Recording for his single "This Is What It Feels Like" featuring Trevor Guthrie, which makes him the fourth trance artist to receive a Grammy Award nomination. In the United States, he holds the record for most entries, twenty-one, on the Billboard Dance/Electronic Albums chart. Armin van Buuren grew up in Koudekerk aan den Rijn. Van Buuren started making music when he was 14.
He was inspired by French electronic music composer Jean-Michel Jarre. Van Buuren graduated from the Stedelijk Gymnasium Leiden in 1995, studied law at Leiden University, he began working as a DJ in Club Nexus, playing multiple sets a week, most of which lasted six or more hours. In 1999, he met Dave Lewis who introduced him as a DJ in the United States; as his musical career began to take off, he put his law degree on hold, but he did return to graduate from law school in 2003. On 18 September 2009, Van Buuren married Erika van Thiel, with whom he had been together for eight years, their daughter Fenna was born in July 2011. Van Buuren announced just hours before he was due to headline the main stage at Tomorrowland that his wife had given birth to a son, Remy. On 16 February 2018, Van Buuren explored his family history in an episode of the TV series Verborgen verleden, the Dutch version of the UK series Who Do You Think You Are?. In 1996, Van Buuren Push on Timeless Records. Van Buuren had his first success with a track called "Blue Fear", released under the Cyber Records label in 1997.
Another successful track, "Communication", was released under the same label and became popular in Ibiza, Spain in the summer of 1999. After being signed to AM PM Records, this track entered the UK Singles Chart at No. 18 in 2000. In the beginning of 1999, Van Buuren started his label Armind together with United Recordings; the first release, Gig – "One", was well received. The second release, "Touch Me" under the name Rising Star, was signed to Ministry of Sound in the UK, before the record was released. By the time of his third release, Gimmick – "Free" was signed to R&S Records. During this year, he remixed the first two singles of Gouryella and, under the guise of Rising Star, produced a remix of L'Esperanza, a song by Airscape. In 2000, Van Buuren started his own Armin van Buuren compilation series, a mix of progressive house and vocal trance styles of music, his first compilation album, A State of Trance, sold 10,000 copies and contains Van Buuren's remix of Moogwai, "Viola". Teaming up with Tiësto, two new projects were born: Major League – "Wonder Where You Are?" was released on Black Hole Recordings and Alibi – "Eternity" was released on Armind.
"Eternity" was signed to Paul van Dyk's imprint Vandit Records. Another major collaboration followed this. Together with Ferry Corsten, Van Buuren recorded a riff titled "Exhale" for the System F album, Out of the Blue. Released as a single, this track reached Gold status. Under the pseudonym Gaia he released "4 Elements" on Captivating Sounds, a sub-label of Warner Brothers, his second album, Basic Instinct featured a new track: "Perpetuous Dreamer" – "The Sound of Goodbye". This track entered the Dutch charts in June 2001 at number 26. In the year, the track hit No. 1 on the Hot Dance Music/Club Play chart. The third album, In Motion was released 6 August 2001. A fourth album, followed in 2002. In 2003, he worked with such artists such as DJ Seth Alan Fannin throughout a global tour on Dance Revolution in Europe, selling out to crowds of 20,000 people in the Netherlands. In March 2001, Van Buuren started his own radio show on ID&T Radio. In this weekly two-hour show, entitled A State of Trance, he plays the latest popular trance music tracks, publishes the artists and track titles on his website.
When ID&T Radio changed genres in 2004, Van Buuren moved A State of Trance to Fresh FM and SLAM! FM, two Dutch radio stations, it is now a weekly feature on Radio 538, the Dutch radio station, DI. FM, an online radio station, on XM Satellite Radio, channel 52 in the United States and Canada. A complete list of stations that broadcast A State of Trance can be found at the ASOT section of Armin's website. In 2002, he had a residency at Glow in Washington D. C. and played across North America. He appeared at Amnesia on the island of Ibiza, Balearic Islands, Spain. In October that year, Van Buuren was voted number 5 in the DJ Mag. In June 2003, Van Buuren celebrated the 100th episode of A State of Trance at Bloomingdale, Bloemendaal aan Zee and released his debut studio album, 76, a 76-minute album divided into 13 tracks. In the same year he was held third place for the next two years. In 2004, Van Buuren remixed the 24 theme song into a trance hit. On 2 June 2005, he celebrated the 200th episode of A State of Trance at the Museumplein o
Trance is a genre of electronic music that emerged from the British new-age music scene and the early 1990s German techno and hardcore scenes. At the same time trance music was developing in Europe. Trance music is characterized by a tempo lying between 110–150 bpm, repeating melodic phrases, a musical form that distinctly builds tension and elements throughout a track culminating in 1 to 2 "peaks" or "drops". Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno, pop, chill-out, classical music, tech house and film music. A trance is a state of hypnotism and heightened consciousness; this is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-up and release. A common characteristic of trance music is a mid-song climax followed by a soft breakdown disposing of beats and percussion leaving the melody or atmospherics to stand alone for an extended period before building up again. Trance tracks are lengthy to allow for such progression and have sufficiently sparse opening and closing sections to facilitate mixing by DJs.
Trance is instrumental, although vocals can be mixed in: they are performed by mezzo-soprano to soprano female soloists without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, described as "grand and operatic" and "ethereal female leads floating amongst the synths". However, male singers, such as Jonathan Mendelsohn, are featured; the "Trance" name may refer to an induced emotional feeling, euphoria, chills, or uplifting rush that listeners claim to experience, or it may indicate an actual trance-like state the earliest forms of this music attempted to emulate in the 1990s before the genre's focus changed. Another possible antecedent is Yuzo Koshiro and Motohiro Kawashima's electronic soundtracks for the Streets of Rage series of video games from 1991 to 1994, it was promoted by the well-known UK club-night "Megatripolis" whose scene catapulted it to international fame. Examples of early trance releases include but are not limited to KLF's 1988 release'What Time Is Love', German duo Jam & Spoon's 1992 12" Single remix of the 1990 song "The Age Of Love", German duo Dance 2 Trance's 1990 track "We Came in Peace".
The writer Bom Coen traces the roots of trance to Paul van Dyk's 1993 remix of Humate's "Love Stimulation". However, Van Dyk's trance origins can be traced further back to his work with Visions of Shiva, being the first tracks he released In subsequent years, one genre, vocal trance, arose as the combination of progressive elements and pop music, the development of another subgenre, epic trance, finds some of its origins in classical music, with film music being influential. Trance was arguably at its commercial peak in the second part of 1990s and early 2000s. Classic trance employs a 4/4 time signature, a tempo of 125 to 150 BPM, 32 beat phrases and is somewhat faster than house music. A kick drum is placed on every downbeat and a regular open hi-hat is placed on the upbeat or every 1/8th division of the bar. Extra percussive elements are added, major transitions, builds or climaxes are foreshadowed by lengthy "snare rolls"—a quick succession of snare drum hits that build in velocity and volume towards the end of a measure or phrase.
Rapid arpeggios and minor keys are common features of Trance, the latter being universal. Trance tracks use one central "hook", or melody, which runs through the entire song, repeating at intervals anywhere between 2 beats and 32 bars, in addition to harmonies and motifs in different timbres from the central melody. Instruments are removed every 4, 8, 16, or 32 bars. In the section before the breakdown, the lead motif is introduced in a sliced up and simplified form, to give the audience a "taste" of what they will hear after the breakdown; the final climax is "a culmination of the first part of the track mixed with the main melodic reprise". As is the case with many dance music tracks, trance tracks are built with sparser intros and outros in order to enable DJs to blend them together immediately. More recent forms of trance music incorporate other styles and elements of electronic music such as electro and progressive house into its production, it emphasizes harsher basslines and drum beats which decrease the importance of offbeats and focus on a four on the floor stylistic house drum pattern.
The bpm of more recent styles tends to be on par with house music at 120 to 135 beats per minute. However, unlike house music, recent forms of trance stay true to their melodic breakdowns and longer transitions. Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance, uplifting trance. Uplifting trance is known as "anthem trance", "epic trance", "commercial trance", "stadium trance", or "euphoric trance", has been influenced by classical music in the 1990s and 2000s by leading artists such as Ferry Corsten, Armin Van Buuren, Tiësto, Rank 1 and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as Andy Blueman, Ciro Visone, Arctic Moon, Sergey Nevone & Simon O'Shine, among others. Related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music.
For instance, Tech trance is a mixture of trance and tech
Hardcore (electronic dance music genre)
Hardcore is a subgenre of electronic dance music that originated in the Netherlands from the emergent raves/gabber in the 1990s. Its subgenres are distinguished from other electronic dance music genres by faster tempos, the intensity of the kicks and the synthesized bass, the rhythm and the atmosphere of the themes, the usage of saturation and experimentation close to that of industrial dance music. To understand the emergence of hardcore one has to go back to the 1970s, to find signs of hard electronic dance music within industrial music. Groups such as Throbbing Gristle, Cabaret Voltaire, SPK, Foetus and Einstürzende Neubauten produced music using a wide range of electronic instruments; the message diffused by industrial was very provocative. Some of the musical sounds and experimentation of industrial have directly influenced hardcore since the beginning of the movement. In the mid-1980s, under the influence of the Belgian group Front 242, electronic body music, a new genre more accessible and more dancing inspired by industrial and new wave, appeared.
This style is characterized by minimalism, cold sounds unlike disco, funk or house, with powerful beats combined with aggressive vocals and an aesthetic close to industrial or punk music. When EBM has met new beat, another Belgian genre, acid house, the music has changed to a harder sound. All the elements were here for the arrival of hardcore; the term hardcore is not new in the music world. It was first used to designate a more radical movement within punk rock which, in addition to hardening the music attached importance to their attitude and their way of life as in the street where it was born: violent, but engaged and sincere; the term has been reused when hip-hop emerged in the late 1980s, designating the harder part of the hip-hop, with the same characteristics: a harder sound, engaged lyrics and a whole way of life dedicated to the respect of the values shown by rappers like KRS-One or Public Enemy. The term hardcore techno has first been used by EBM groups like à. Pankow, Leæther Strip in the late 1980s, although their music had nothing to do with hardcore.
À. In 1990, the German producer Marc Trauner known as Mescalinum United is the first to claim to make hardcore techno with his track We Have Arrived considered as a track founding the genre; the band Together released its track "Hardcore Uproar" in 1990, music journalist Simon Reynolds has written books on hardcore techno, covering bands like L. A. Style and Human Resource. In the early 1990s, the terms hardcore and darkcore were used to designate some primitive forms of breakbeat and drum and bass which were popular in England and from which have emerged several famous producers like The Prodigy, Lords of Acid and Goldie, it introduced sped up hip-hop breakbeats, piano breaks and low frequency basslines and cartoon-like noises, retrospectively called'old skool' hardcore, is regarded as the progenitor of happy hardcore and jungle. Around 1993, the style became defined and was named hardcore, as it left its influences of the techno of Detroit; the official birth of the hardcore is known as the release of the track "We Have Arrived" from the German producer Mescalinum United, from Frankfurt, that has become one of the bastions of the hardcore at its start.
Acardipane founded the label Planet Core Productions in 1989 and has produced more than 500 tracks, including 300 by himself till 1996. Another important name of the hardcore scene has started at PCP: Miroslav Pajic, better known as Miro. Among other things, the group PCP has popularized a slow, heavy and dark form of hardcore, now designated as darkcore or doomcore. In the United States, the New York pioneer of techno Lenny Dee launched the label Industrial Strength Records in 1991 that has federated a large part of the American scene, making New York one of the biggest centers of early American hardcore. Other American producers on the label included Deadly Buda and The Horrorist, but the label has produced producers from other nationalities. At the same time in Rotterdam, the DJs and producers Paul Elstak and Rob Fabrie popularized a speedier style, with saturated bass-lines known as gabber, its more commercial and accessible form, the happy hardcorePaul Elstak founded Rotterdam Records in 1992, which became the first label of hardcore of the Netherlands.
In 1992 at Utrecht, a giant rave called The Final Exam has led to the creation of the label ID&T which launched in 1993 the concept of Thunderdome which popularized hardcore music in Europe with a list of compilations and events attracting thousands of young people launching the gabber movement. Just during the single year 1993, four compilations were released with increasing success. Lots of artists on those compilations have become famous stars like 3 Steps Ahead, DJ Buzz Fuzz, The Dreamteam, Omar Santana, Charly Lownoise and Mental Theo in the gabber/happy hardcore registry; the same year, the label Mokum Records is created by Freddy B which has had success thanks to artists and groups like Technohead Tellurian, The Speedfreak, Scott Brown, the Belgian musician Liza N'Eliaz pioneer of the speedcore. In England, the members of the sound system Spiral Tribe, including Stormcore, 69db, Crystal Distortion and Curley have hardened
The Roland JP-8000 is an analog modeling synthesizer released by the Roland Corporation in 1996. The Roland JP-8000 was released in early 1997 as part of the first wave of virtual analog modeling synthesizers. Others from that period included Korg Prophecy, Access Virus and Yamaha AN1x; such Virtual Analog synthesizer had the goal of recreating the sound and user interface of classic analog synths. The JP-8000 was viewed at the time as the modern digital incarnation of the classic Roland Jupiter-8, from 1981; the programming interface, synthesis options and general tone is similar to Roland's Jupiter-6 as well. The JP-8000 sought to digitally reproduce the warm analog tonalities and sheer power of its older, analog brothers. Although it lacked somewhat in analog warmth due to its early digital architecture, it added many new features such as motion control, RPS, which allowed short sequenced phrases to be assigned to keys, it featured the unique Supersaw oscillators and analog-style controllers such as an arpeggiator and an assignable touch response ribbon control.
The JP-8000 had several features. Most notably, Roland's unique oscillator types and the use of sliders instead of rotary encoders to edit patch parameters; the Supersaw in particular was the reason why the JP-8000 was successful as a main keyboard in the dance music market for trance music. Just like what the Roland TB-303 had done for acid house and acid techno, the JP-8000's Supersaw leads became characteristic of a certain type of trance music that can be called "Anthem Trance", where a melodic, powerful lead based on a Supersaw patch provided the hook and melody throughout the song; the sound processor is 16 bit. In 1998, Roland released a 6U, 19" rack version of JP-8000 called the JP-8080; the JP-8080 combined the analog modeling sound engine of the JP-8000 with additional features such as an internal vocoder. The JP-8080 had three times the number of patches and performances, an additional Noise waveform on Osc 2 and a distortion effect. Due to these changes all JP-8000 patches are compatible with the JP-8080 but not all JP-8080 patches are compatible with the JP-8000.
In popular usage however the two synthesizer are thought of as identical in regard to sound architecture. The supersaw is a waveform created by Roland for their JP-8000 and JP-8080 line of analog modeling synthesizers, it emulates the sound of multiple sawtooth oscillators using a single oscillator. The waveform is described as a freerun oscillator whose shape resembles 7 sawtooth oscillators detuned against each other over a period of time. Since production of the JP-8000 ceased, several companies have incorporated "supersaw-like" oscillator algorithms into their hardware and software synthesizers. SUPERWAVE P8 is an example of a software synthesizer inspired by the architecture of the JP-8000, with its multiple sawtooth oscillators. Another is the Supersaw Plus, which has a JP-8000-style interface and a variation on the supersaw waveform that provides 2, 4, 6 or 10 oscillators. In 2005, Access Music released the TI-line of synthesizers, which feature an oscillator type called Hypersaw, similar to Roland's supersaw oscillator.
Roland continues to produce other synthesizers, such as the SH-201, the SH-01, the Roland V-Synth, the Roland V-Synth XT that have the supersaw oscillator type. The supersaw gained popularity in electronic dance music with its use in hardcore and trance music. "At Last!". Future Music. No. 53. Future Publishing. February 1997. ISSN 0967-0378. OCLC 1032779031. "Cover Feature: Synth head-to-head". Future Music. No. 59. Future Publishing. August 1997. P. 20. ISSN 0967-0378. OCLC 1032779031. "Roland JP-8080". Future Music. No. 76. November 1998. ISSN 0967-0378. OCLC 1032779031. Roland JP-8000 at Vintagesynth.com Roland JP-8000 JP8000 user comments at Dancetech.com Roland JP8000 Sound On Sound preview Roland JP8000 Sound On Sound review
Dash Berlin is a Dutch electronic music duo started in 2007 in The Hague by Eelke Kalberg and Sebastiaan Molijn. The frontman of the group was Jeffrey Sutorius, the seventh most popular DJ in the world according to DJ Mag in 2012. Sutorius started playing drums influenced by his late father, a drummer in a jazz band, before discovering electronic music, he worked at BPM Dance and Mid-Town Records specializing in vinyl, with both stores becoming meeting places for many established Dutch DJ's. Molijn and Kalberg, who were deejaying as Pronti and Kalmani at the time, have credited Sutorius as a vital source of inspiration for some of their biggest records during that time. Kalberg and Molijn have been contributing to the international dance scene for over twenty years, with award-winning and platinum-selling hits for dance acts such as Alice Deejay, Candee Jay and Kalmani and Solid Sessions, their track "Better Off Alone" was one of the first trance records that became big in the U. S. and was sampled by French superstar DJ David Guetta in his song "Play Hard" and one of America's biggest rappers Wiz Khalifa in his breakthrough record "Say Yeah".
They have been working together with DJ Sander Kleinenberg on classic tracks like "This Is Miami" and "The Fruit" and remixes for major artists such as Justin Timberlake, Janet Jackson, BT, Usher, N. E. R. D. Lenny Kravitz, Junkie XL, Röyksopp and Annie Lennox. On 18 June 2018, Sutorius announced his split from Dash Berlin while severing ties with Kalberg and Molijn, citing mismanagement and career neglect issues. Beginning October 2018, Sutorius has been producing and performing under his own name, while Dash Berlin are set to continue as a duo. Dash Berlin was formed by Kalberg and Moljin in The Hauge, with Sutorious joining soon after Jeffrey Sutorius was a fan of electronic music from his high school days and in his late teens worked in a record store and became a collector of vinyl trance music. Inspired by pioneering figures such as Sven Väth, Oliver Lieb and Sander Kleinenberg, Sutorius began mixing and producing his own music, he released his first record on'BPM Legends' records. He started performing in the Dutch underground music scene in early'95 and teamed up with fellow producers and close friends Kalberg and Molijn to form Dash Berlin into a trio in 2006.
On 18 June 2018, Jeffrey Sutorious announced through a press statement that he would be leaving the group, while cutting his connections with Kalberg and the Vanderkleij Agency. He revealed that Molijn and Kalberg had registered the name "Dash Berlin" under their own names while leaving him out, thus leaving him unable to perform as Dash Berlin. Further attempts to reconcile through lawyers and courts had failed, Sutorious was blocked from accessing the group's social media accounts after severing ties with his former partners. Sutorious announced that he would be producing and performing under his own name, beginning October 2018. In a second press statement with DJ Mag, Sutorious revealed that his intense touring periods had brought up health issues for him in late-2017, which in turn led him to take two months off for a physical checkup. During that time period, Sutrious was unable to perform, to his management's heavy opposition, he stopped working with his booking company, while Kalberg and Molijn froze Sutorious out of Dash Berlin's social media accounts and filed a court claim against him for failure to fulfil his booked shows.
The court denied the claim. Kalberg and Molijn's reasons for registering the Dash Berlin name without Sutorious are still unclear due to their refusal to provide documents and information to Sutorious; the breakthrough for Dash Berlin came in early 2007 with "Till the Sky Falls Down". The track went to the top of the trance charts worldwide, due in part to Armin van Buuren who included it on the third chapter of his acclaimed Universal Religion mix album. Van Buuren subsequently signed Dash Berlin to the Armada Music label. Dash Berlin won the IDMA award for the track "Waiting" in the category'Best High Energy Track' and was nominated three times at the International Dance Music Awards, during the WMC in Miami in 2009, his tracks "Waiting" featuring Australian singer Emma Hewitt and "Man On The Run", a collaboration with fellow Armada artists Cerf and Jaren were both nominated that year in the category'Best Trance Track'. In Armin van Buuren's popular radio show A State of Trance the "Waiting" single was elected by the audience to the second best trance track of the year 2009.
The music video gained over twenty-five million views on YouTube. In 2010, Dash were nominated for the "Best European DJ" at the IDMA's and entered the DJ Mag Top 100 poll at number 15, they won the DJ Mag Top 100 Award for "Highest New Entry", during the Magazine's ceremony at the Ministry Of Sound in London, hosted by Boy George. Beating other famous Dutch DJ's such as Armin van Buuren, Ferry Corsten as the highest Dutch entry till date. On October 20, 2011 DJ Magazine announced the results of their annual Top 100 DJ Poll for the first time in Amsterdam, with Dash Berlin placed at number eight in the world. In 2012, Dash Berlin receives a nomination for "Best Trance Track" at the IDMA's for his track with Jonathan Mendelsohn entitled "Better Half Of Me". October 2012: In Mexico Dash Berlin are nominated for a prestigious Lunas Award in the category Electronic Music among other artists such as Armin van Buuren, Paul van Dyk, David Guetta, among others; that month, Dash were ranked number 7 in the DJ Mag Top 100 poll, making them the second most popular Trance DJ in the world, right afte
Liquid funk, liquid drum & bass, liquid DnB, liquid or sometimes just melodic drum & bass is a subgenre of drum and bass. While it uses similar basslines and bar layouts to other styles, it contains fewer bar-oriented samples and more instrumental layers, harmonies and ambiance, producing a sentimental atmosphere directed at home listeners as well as nightclub and rave audiences. Music genres such as jazz and sometimes blues have a pivotal influence on liquid funk. In 1999, Fabio began championing a new form of drum and bass he called "liquid funk", with a compilation release of the same name on his Creative Source label; this was characterized by influences from ambient, disco and trance music, widespread use of vocals. Although slow to catch on at first, the style grew massively in popularity around 2003–2004, by 2005 it was established as one of the biggest-selling subgenres in drum and bass, with labels like Good Looking Records, Hospital Records, Liquid V, Shogun Limited, Fokuz Recordings, artists like Calibre, High Contrast, London Elektricity, Nu:Tone, Shapeshifter, DJ Marky, Solid State among its main proponents.
Liquid funk is similar to intelligent drum and bass and atmospheric drum and bass, but has subtle differences. Liquid funk has stronger influences from soca, jazz, disco and funk music, while intelligent D'n'B or atmospheric D'n'B creates a calmer yet more synthetic sound, using smooth synth lines, deep bass and samples in place of the organic element achieved by use of real instruments. Liquid music continued its growth from 2006–09 with a rise of artists such as Eveson, Alix Perez, Zero T, Lenzman and Spectrasoul to name a few. Like the Liquid preceding it, it came predominately from the UK; these artists tended to steer away from the Amens and 808's and brought new sounds to the drum and bass scene. On 1 October 2007 High Contrast brought liquid funk back to the mainstream with his album, Tough Guys Don't Dance, releasing tracks such as "If We Ever" which made Radio 1's Dance singles chart, "Kiss Kiss Bang Bang", "Tread Softly"; this ended up "crossing over" and becoming one of the most listened to drum and bass albums of 2007.
The success of liquid funk never left the mainstream, was followed by Mistabishi's "No Matter What" being played on daytime radio, Chase & Status' More Than Alot album charting and the Brookes Brothers' singles "The Big Blue", "Get On It" and "Loveline" hitting Dance charts. Liquicity emerged as a YouTube channel in 2008, after 2011 growing out to become a record label and events promotor for new liquid DnB artists in the Netherlands and the United Kingdom. Liquid Funk established 1999 soon to be re-launched. Itstooloud.com: A forum supporting liquid / melodic / intelligent drum and bass music since 2002. Planet Liquicity LiquidDNB.com: Online community for the liquid drum and bass scene. LiquidFunk.ca: Liquid Funk DJ Tedder. Offers info and links to top artists such as Calibre, Condition Red, more
House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms provided by drum machines, off-beat hi-hat cymbals, synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic; the mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals. House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines; as well, these DJs began to mix synth pop, rap and jazz into their tracks. Latin music salsa clave rhythm, became a dominating riff of house music, it was pioneered by Chicago DJs such as Steve Hurley.
It was influenced by Chicago DJ and record producer Frankie Knuckles, the Chicago acid-house electronic music group Phuture, the Tennessee DJ/producer Mr. Fingers; the genre was associated with the Black American LGBT subculture but has since spread to the mainstream. From its beginnings in the Chicago club and local radio scene, the genre spread internationally to London to American cities such as New York City and Detroit, globally. Chicago house music acts from the early to mid-1980s found success on the US dance charts on various Chicago independent record labels that were more open to sign local house music artists; these same acts experienced some success in the United Kingdom, garnering hits in that country. Due to this success, by the late 1980s, Chicago house music acts found themselves being offered major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew popular. Since the early to mid-1990s, house music has been infused into mainstream pop and dance music worldwide.
In the 2010s, the genre, while keeping several of its core elements, notably the prominent kick drum on most beats, varies in style and influence, ranging from soulful and atmospheric to the more minimalistic microhouse. House music has fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer. Major acts such as Madonna, Janet Jackson, Paula Abdul, Martha Wash, CeCe Peniston, Robin S. Steps, Kylie Minogue, Björk, C+C Music Factory were influenced by House music in the 1990s and beyond. After enjoying significant success which started in the late 1980s, house music grew larger during the second wave of progressive house; the genre has remained popular and fused into other popular subgenres, notably ghetto house, deep house, future house and tech house. As of today, house music remains popular on radio and in clubs while retaining a foothold on the underground scenes across the globe.
House music is created by DJs, record producers, music artists with contributions from other performers on synthesizer and other electronic instruments. The structure of house music songs involves an intro, a chorus, various verse sections, a midsection and an outro; some songs do not have a verse, repeating the same cycle. The drum beat is one of the more important elements within the genre and is always provided by an electronic drum machine Roland's TR-808 or TR-909, rather than by a live drummer; the drum beats of house are "four on the floor", with bass drums played on every beat and they feature off-beat drum machine hi-hat sounds. House music is based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer; the tempo of most house songs is between 115 BPM and 132 BPM. Various disco songs incorporated sounds produced with synthesizers and electronic drum machines, some compositions were electronic.
As well, the audio mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, record producers, audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, others was important. These artists produced longer, more repetitive, percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers and drum machines; the electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat, 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. Rachel Cain, co-founder of influential dance label Trax Records, was involved in the burgeoning punk scene. Ca