Broad category of electronic music
Electronic dance music (EDM) is a broad range of percussive electronic music genres originally made for💷 nightclubs, raves, and festivals. It is generally produced for playback by DJs who create seamless selections of tracks, called a💷 DJ mix, by segueing from one recording to another. EDM producers also perform their music live in a concert or💷 festival setting in what is sometimes called a live PA. Since its inception EDM has expanded to include a wide💷 range of subgenres.
In the late 1980s and early 1990s, following the emergence of raving, pirate radio, PartyCrews, underground festivals and💷 an upsurge of interest in club culture, EDM achieved mainstream popularity in Europe. However, rave culture was not as broadly💷 popular in the United States; it was not typically seen outside of the regional scenes in New York City, Florida,💷 the Midwest, and California. Although both electro and Chicago house music were influential both in Europe and the United States,💷 mainstream media outlets and the record industry remained openly hostile to it. There was also a perceived association between EDM💷 and drug culture, which led governments at state and city levels to enact laws and policies intended to halt the💷 spread of rave culture.[3]
Subsequently, in the new millennium, the popularity of EDM increased globally, particularly in the United States and💷 Australia. By the early 2010s, the term "electronic dance music" and the initialism "EDM" was being pushed by the American💷 music industry and music press in an effort to rebrand American rave culture.[3] Despite the industry's attempt to create a💷 specific EDM brand, the acronym remains in use as an umbrella term for multiple genres, including dance-pop, house, techno, electro💷 and trance, as well as their respective subgenres.[4][5][6]
History [ edit ]
Various EDM genres have evolved over the last 40 years,💷 for example; house, techno, drum and bass, dance-pop etc. Stylistic variation within an established EDM genre can lead to the💷 emergence of what is called a subgenre. Hybridization, where elements of two or more genres are combined, can lead to💷 the emergence of an entirely new genre of EDM.[4]
Precursors [ edit ]
In the late 1960s bands such as Silver Apples💷 created electronic music intended for dancing.[7] Other early examples of music that influenced later electronic dance music include Jamaican dub💷 music during the late 1960s to 1970s,[6] the synthesizer-based disco music of Italian producer Giorgio Moroder in the late 1970s,💷 and the electropop of Kraftwerk and Yellow Magic Orchestra in the mid-to-late 1970s.[5]
Dub [ edit ]
Author Michael Veal considers dub💷 music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 1968 and 1985, to be💷 one of the important precursors to contemporary electronic dance music.[8] Dub productions were remixed reggae tracks that emphasized rhythm, fragmented💷 lyrical and melodic elements, and reverberant textures.[9] The music was pioneered by studio engineers, such as Sylvan Morris, King Tubby,💷 Errol Thompson, Lee "Scratch" Perry, and Scientist.[8] Their productions included forms of tape editing and sound processing that Veal considers💷 comparable to techniques used in musique concrète. Dub producers made improvised deconstructions of existing multi-track reggae mixes by using the💷 studio mixing board as a performance instrument. They also foregrounded spatial effects such as reverb and delay by using auxiliary💷 send routings creatively.[8] The Roland Space Echo, manufactured by Roland Corporation, was widely used by dub producers in the 1970s💷 to produce echo and delay effects.[10]
Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee💷 "Scratch" Perry, their experiments in remix culture were musically cutting-edge.[11] Ambient dub was pioneered by King Tubby and other Jamaican💷 sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo, equalization and psychedelic electronic effects. It featured layering techniques and💷 incorporated elements of world music, deep bass lines and harmonic sounds.[12] Techniques such as a long echo delay were also💷 used.[13]
Hip hop [ edit ]
Hip hop music has had some influence in the development of electronic dance music since the💷 1970s.[14] Inspired by Jamaican sound system culture Jamaican-American DJ Kool Herc introduced large bass heavy speaker rigs to the Bronx.[15]💷 His parties are credited with having kick-started the New York City hip-hop movement in 1973.[15] A technique developed by DJ💷 Kool Herc that became popular in hip hop culture was playing two copies of the same record on two turntables,💷 in alternation, and at the point where a track featured a break. This technique was further used to manually loop💷 a purely percussive break, leading to what was later called a break beat.[16]
Turntablism has origins in the invention of the💷 direct-drive turntable,[17] by Shuichi Obata, an engineer at Matsushita (now Panasonic).[18] In 1969, Matsushita released it as the SP-10,[19] the💷 first direct-drive turntable on the market,[20] and the first in their influential Technics series of turntables.[19] The most influential turntable💷 was the Technics SL-1200,[21] which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then💷 released it onto the market in 1972.[17] In the 1980s and 1990s hip-hop DJs used turntables as musical instruments in💷 their own right and virtuosic use developed into a creative practice called turntablism.[21]
Disco [ edit ]
In 1974, George McCrae's early💷 disco hit "Rock Your Baby" was one of the first records to use a drum machine,[22] an early Roland rhythm💷 machine.[23] The use of drum machines in disco production was influenced by Sly and the Family Stone's "Family Affair" (1971),💷 with its rhythm echoed in McCrae's "Rock Your Baby",[24] and Timmy Thomas' "Why Can't We Live Together" (1972).[25][23][24] Disco producer💷 Biddu used synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest (1976),[26] "Soul Coaxing"💷 (1977),[27] and Eastern Man and Futuristic Journey[28][29] (recorded from 1976 to 1977).[30]
Acts like Donna Summer, Chic, Earth, Wind, and Fire,💷 Heatwave, and the Village People helped define the late 1970s disco sound. Giorgio Moroder and Pete Bellotte produced "I Feel💷 Love" for Donna Summer in 1977. It became the first well-known disco hit to have a completely synthesized backing track.💷 Other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music (which came with the💷 increased Jamaican migration to New York City in the 1970s) to provide alternatives to the four-on-the-floor style that dominated.[31][32] During💷 the early 1980s, the popularity of disco music sharply declined in the United States, abandoned by major US record labels💷 and producers. Euro disco continued evolving within the broad mainstream pop music scene.[33]
Synth-pop (short for synthesizer pop; also called techno-pop[35][36])💷 is a music genre that first became prominent in the late 1970s and features the synthesizer as the dominant musical💷 instrument.[37] It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art💷 rock, disco, and particularly the Krautrock of bands like Kraftwerk. It arose as a distinct genre in Japan and the💷 United Kingdom in the post-punk era as part of the new wave movement of the late 1970s.
Early synth-pop pioneers included💷 Japanese group Yellow Magic Orchestra, and British bands Ultravox, the Human League and Berlin Blondes[citation needed]. The Human League used💷 monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Gary Numan in the UK💷 Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s,💷 including late-1970s debutants like Japan and Orchestral Manoeuvres in the Dark, and newcomers such as Depeche Mode and Eurythmics. In💷 Japan, Yellow Magic Orchestra's success opened the way for synth-pop bands such as P-Model, Plastics, and Hikashu. The development of💷 inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible💷 sound for synth-pop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of💷 MTV, led to success for large numbers of British synth-pop acts (including Duran Duran and Spandau Ballet) in the United💷 States.
The use of digital sampling and looping in popular music was pioneered by Japanese electronic music band Yellow Magic Orchestra💷 (YMO).[38][39][40][41] Their approach to sampling was a precursor to the contemporary approach of constructing music by cutting fragments of sounds💷 and looping them using computer technology.[40] "Computer Game/Firecracker" (1978) interpolated a Martin Denny melody,[42] and sampled Space Invaders[43] video game💷 sounds.[42] Technodelic (1981) introduced the use of digital sampling in popular music, as the first album consisting of mostly samples💷 and loops.[39][41] The album was produced using Toshiba-EMI's LMD-649 digital PCM sampler, which engineer Kenji Murata custom-built for YMO.[41][better source💷 needed] The LMD-649 was also used for sampling by other Japanese synthpop artists in the early 1980s, including YMO-associated acts💷 such as Chiemi Manabe[44] and Logic System.[45]
Dance music in the 1980s [ edit ]
The emergence of electronic dance music in💷 the 1980s was shaped by the development of several new electronic musical instruments, particularly those from the Japanese Roland Corporation.💷 The Roland TR-808 (often abbreviated as the "808") notably played an important role in the evolution of dance music,[46] after💷 Afrika Bambaataa's "Planet Rock" (1982), made it very popular on dancefloors.[47] The track, which also featured the melody line from💷 Kraftwerk's Trans-Europe Express, informed the development of electronic dance music,[48] and subgenres including Miami bass and Detroit techno, and popularized💷 the 808 as a "fundamental element of futuristic sound".[49] According to Slate, "Planet Rock" "didn't so much put the 808💷 on the map so much as reorient an entire world of post-disco dance music around it".[50] The Roland TR-909, TB-303💷 and Juno-60 similarly influenced electronic dance music such as techno, house and acid.[51][52][53]
During the post-disco era that followed the backlash💷 against "disco" which began in the mid to late 1979, which in the United States lead to civil unrest and💷 a riot in Chicago known as the Disco Demolition Night,[13] an underground movement of "stripped-down" disco inspired music featuring "radically💷 different sounds"[14] started to emerge on the East Coast.[15] [Note 1] This new scene was seen primarily in the New💷 York metropolitan area and was initially led by the urban contemporary artists that were responding to the over-commercialization and subsequent💷 demise of disco culture. The sound that emerged originated from P-Funk[18] the electronic side of disco, dub music, and other💷 genres. Much of the music produced during this time was, like disco, catering to a singles-driven market.[14] At this time💷 creative control started shifting to independent record companies, less established producers, and club DJs.[14] Other dance styles that began to💷 become popular during the post-disco era include dance-pop,[19] [20] boogie,[14] electro, Hi-NRG, Italo disco, house,[19] [21] [22] [23] and techno.[22]💷 [24] [25] [26] [27]
Electro [ edit ]
The instrument that provided electro's synthesized programmed drum beats, the Roland TR-808 drum machine.
In💷 the early 1980s, electro (short for "electro-funk") emerged as a fusion of synth-pop, funk, and boogie. Also called electro-funk or💷 electro-boogie, but later shortened to electro, cited pioneers include Ryuichi Sakamoto, Afrika Bambaataa,[54] Zapp,[55] D.Train,[56] and Sinnamon.[56] Early hip hop💷 and rap combined with German and Japanese electropop influences such as Kraftwerk and Yellow Magic Orchestra inspired the birth of💷 electro.[57] 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 and the Yamaha DX7.[58] Early uses of the TR-808 include several💷 Yellow Magic Orchestra tracks in 1980–1981, the 1982 track "Planet Rock" by Afrika Bambaataa, and the 1982 song "Sexual Healing"💷 by Marvin Gaye.[59] In 1982, producer Arthur Baker, with Afrika Bambaataa, released the seminal "Planet Rock", which was influenced by💷 Yellow Magic Orchestra, used Kraftwerk samples, and had drum beats supplied by the TR-808. Planet Rock was followed later that💷 year by another breakthrough electro record, "Nunk" by Warp 9. In 1983, Hashim created an electro-funk sound with "Al-Naafyish (The💷 Soul)"[54] that influenced Herbie Hancock, resulting in his hit single "Rockit" the same year. The early 1980s were electro's mainstream💷 peak. According to author Steve Taylor,[60] Afrika Bambaataa's Planet Rock serves as a "template for all interesting dance music since".[60]
House💷 music [ edit ]
In the early 1980s, Chicago radio jocks The Hot Mix 5 and club DJs Ron Hardy and💷 Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul[61] tracks), electro funk💷 tracks by artists such as Afrika Bambaataa,[62] newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur💷 Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. Some made and played their own💷 edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation.💷 The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince💷 Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal💷 vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer.
"On and On" is sometimes cited💷 as the 'first house record',[63][64] though other examples from around that time, such as J.M. Silk's "Music is the Key"💷 (1985), have also been cited.[65] House music quickly spread to American cities including New York City, and Newark, and Detroit—all💷 of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as💷 major cities in South America, and Australia.[66] Chicago House experienced some commercial success in Europe with releases such as "House💷 Nation" by House Master Boyz and the Rude Boy of House (1987). Following this, a number of house inspired releases💷 such as "Pump Up The Volume" by M|A|R|R|S (1987), "Theme from S'Express" by S'Express (1988), and "Doctorin' the House" by💷 Coldcut (1988) entered the pop charts.
The electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco💷 Beat (1982), an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but💷 it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st💷 century.[67][68][69]
Techno, acid house, rave [ edit ]
In the mid-1980s house music thrived on the small Balearic Island of Ibiza, Spain.💷 The Balearic sound was the spirit of the music emerging from the island at that time; the combination of old💷 vinyl rock, pop, reggae, and disco records paired with an "anything goes" attitude made Ibiza a hub of drug-induced musical💷 experimentation.[70] A club called Amnesia, whose resident DJ, Alfredo Fiorito, pioneered Balearic house, was the center of the scene.[71] Amnesia💷 became known across Europe and by the mid to late 1980s it was drawing people from all over the continent.[72]
By💷 1988, house music had become the most popular form of club music in Europe, with acid house developing as a💷 notable trend in the United Kingdom and Germany in the same year. In the UK an established warehouse party subculture,💷 centered on the British African-Caribbean sound system scene fueled underground after-parties that featured dance music exclusively. Also in 1988, the💷 Balearic party vibe associated with Ibiza's DJ Alfredo was transported to London, when Danny Rampling and Paul Oakenfold opened the💷 clubs Shoom and Spectrum, respectively. Both places became synonymous with acid house, and it was during this period that MDMA💷 gained prominence as a party drug. Other important UK clubs included Back to Basics in Leeds, Sheffield's Leadmill and Music💷 Factory, and The Haçienda in Manchester, where Mike Pickering and Graeme Park's spot, Nude, was an important proving ground for💷 American underground dance music.[Note 1] The success of house and acid house paved the way for Detroit Techno, a style💷 that was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with Detroit💷 clubs catching up later. The term Techno first came into use after a release of a 10 Records/Virgin Records compilation💷 titled Techno: The Dance Sound of Detroit in 1988.[76]
One of the first Detroit productions to receive wider attention was Derrick💷 May's "Strings of Life" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe,💷 especially the UK and Germany, during the 1987–1988 house music boom (see Second Summer of Love).[77] It became May's best-known💷 track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and💷 energy people got off that record when it was first heard. Mike Dunn says he has no idea how people💷 can accept a record that doesn't have a bassline."[78] According to British DJ Mark Moore, "Strings of Life" led London💷 club-goers to accept house: "because most people hated house music and it was all rare groove and hip hop...I'd play💷 'Strings of Life' at the Mudd Club and clear the floor".[Note 2] By the late 1980s interest in house, acid💷 house and techno escalated in the club scene and MDMA-fueled club-goers, who were faced with a 2 a.m. closing time💷 in the UK, started to seek after-hours refuge at all-night warehouse parties. Within a year, in summer 1989, up to💷 25,000 people at a time were attending commercially organised underground parties called raves.
Dance music in the 1990s [ edit ]
Trance💷 [ edit ]
Trance emerged from the rave scene in the United Kingdom in the late 1980s and developed further during💷 the early 1990s in Germany before spreading throughout the rest of Europe, as a more melodic offshoot from techno and💷 house.[citation needed] At the same time trance music was developing in Europe, the genre was also gathering a following in💷 the Indian state of Goa.[81] Trance is mostly instrumental, although vocals can be mixed in: typically they are performed by💷 mezzo-soprano to soprano female soloists, often without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis💷 of the vocal trance subgenre, which has been described as "grand, soaring, and operatic" and "ethereal female leads floating amongst💷 the synths".[82][83] Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance,[84]💷 and uplifting trance.[84][citation needed] Uplifting trance is also known as "anthem trance", "epic trance",[84] "commercial trance", "stadium trance", or "euphoric💷 trance",[85] and has been strongly influenced by classical music in the 1990s[84] and 2000s by leading artists such as Ferry💷 Corsten, Armin Van Buuren, Tiësto, Push, 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, Soundlift, Arctic Moon, Sergey Nevone&Simon O'Shine💷 etc. Closely related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of highly💷 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 techno, and Vocal trance "combines [trance's] progressive elements with pop music".[84] The dream trance genre💷 originated in the mid-1990s, with its popularity then led by Robert Miles.
AllMusic states on progressive trance: "the progressive wing of💷 the trance crowd led directly to a more commercial, chart-oriented sound since trance had never enjoyed much chart action in💷 the first place. Emphasizing the smoother sound of Eurodance or house (and occasionally more reminiscent of Jean-Michel Jarre than Basement💷 Jaxx), Progressive Trance became the sound of the world's dance floors by the end of the millennium. Critics ridiculed its💷 focus on predictable breakdowns and relative lack of skill to beat-mix, but progressive trance was caned by the hottest DJ."[86]
Breakbeat💷 hardcore, jungle, drum and bass [ edit ]
By the early 1990s, a style of music developed within the rave scene💷 that had an identity distinct from American house and techno. This music, much like hip-hop before it, combined sampled syncopated💷 beats or breakbeats, other samples from a wide range of different musical genres, and, occasionally, samples of music, dialogue, and💷 effects from films and television programmes. Relative to earlier styles of dance music such as house and techno, so-called 'rave💷 music' tended to emphasise bass sounds and use faster tempos, or beats per minute (BPM). This subgenre was known as💷 "hardcore" rave, but from as early as 1991, some musical tracks made up of these high-tempo breakbeats, with heavy basslines💷 and samples of older Jamaican music, were referred to as "jungle techno", a genre influenced by Jack Smooth and Basement💷 Records, and later just "jungle", which became recognized as a separate musical genre popular at raves and on pirate radio💷 in Britain. It is important to note when discussing the history of drum & bass that prior to jungle, rave💷 music was getting faster and more experimental.
By 1994, jungle had begun to gain mainstream popularity, and fans of the music💷 (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing💷 elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly💷 complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence💷 and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of💷 jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed💷 in tandem with the often positive reputation of the music as part of the wider rave scene and dance hall-based💷 Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some💷 jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as💷 drum and bass.[87]
Dance music in the 21st century [ edit ]
Dubstep [ edit ]
Dubstep is a genre of electronic dance💷 music that originated in South London in the late 1990s. It is generally characterized by sparse, syncopated rhythmic patterns with💷 bass lines that contain prominent sub-bass frequencies. The style emerged as an offshoot of UK garage, drawing on a lineage💷 of related styles such as 2-step, dub reggae, jungle, broken beat, and grime.[88][89] 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.[89][90]
The💷 earliest known dubstep releases date back to 1998, and were usually featured as B-sides of 2-step garage single releases. These💷 tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate elements of breakbeat and drum💷 and bass into 2-step. In 2001, this and other strains of dark garage music began to be showcased and promoted💷 at London's nightclub Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considered influential💷 to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used around💷 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes💷 started to become more noticeable and distinct from 2-step and grime.[91]
Electro house [ edit ]
Electro house is a form of💷 house music characterized by a prominent bassline or kick drum and a tempo between 125 and 135 beats per minute,💷 usually 128.[92][93][94] Its origins were influenced by electro.[citation needed] The term has been used to describe the music of many💷 DJ Mag Top 100 DJs, including Dimitri Vegas & Like Mike, Hardwell, Skrillex,[95][96] and Steve Aoki.[97] Italian DJ Benny Benassi,💷 with his track "Satisfaction" released in 2002, is seen as the forerunner of electro-house who brought it to the mainstream.[98]💷 By the mid-2000s, electro-house saw an increase in popularity, with hits such as the Tom Neville remix of Studio B's💷 "I See Girls" in 2005 (UK #11). In November 2006, electro-house tracks "Put Your Hands Up for Detroit" by Fedde💷 Le Grand and the D. Ramirez remix of "Yeah Yeah" by Bodyrox and Luciana held the number one and number💷 two spots, respectively, on the UK top 40 singles chart.[99] Since then, electro-house producers such as Feed Me, Knife Party,💷 The M Machine, Porter Robinson, Yasutaka Nakata[100] and Dada Life have emerged.
Trap music [ edit ]
Trap music originated from techno,💷 dub, and Dutch house, but also from Southern hip hop in the late 2000s and early 2010s. This form of💷 trap music can be simplified by these three features: "1/3 hip hop (tempo and song structure are similar, most tracks💷 are usually between 70–110 bpm) – with vocals sometimes being pitched down, 1/3 dance music – high-pitched Dutch synth work,💷 hardstyle sampling, as well as a plethora of trap remixes of popular EDM songs, and 1/3 dub (low-frequency focus and💷 strong emphasis on repetitiveness throughout a song)".[101] Some of the artists that popularized this genre, along with several others, are💷 producers such as RL Grime with the tracks "Core" and "Scylla" released in 2014, Flosstradamus with their Hdynation Radio album💷 released in 2024 and Carnage with his track "Turn Up" released in 2012.[101] Trap music in this connotation was characterized💷 by "soulful synths, 808s, the pan flute, sharp snares and long, syrup-slurred vowels" which created dirty and aggressive beats resulting💷 in "dark melodies". Trap is now mainly used to create remixes of already existing songs.[102][101]
Terminology [ edit ]
In 1980 English💷 producer Richard James Burgess, and his band Landscape, used the term on the sleeve of the single "European Man": "Electronic💷 Dance Music... EDM; computer programmed to perfection for your listening pleasure." In response to a question about being credited with💷 coining the term New Romantic Burgess has stated that: "Initially I was using three terms – Futurist, Electronic Dance Music💷 (the Landscape singles have EDM printed on them) and New Romantic."[103][104]
Writing in The Guardian, journalist Simon Reynolds noted that the💷 American music industry's adoption of the term EDM in the late 2000s was an attempt to re-brand US "rave culture"💷 and differentiate it from the 1990s rave scene. It has been described as an era of electronic music, being described💷 in a MixMag article as being "the drop-heavy, stadium-filling, fist-pumping, chart-topping, massively commercial main stage sound that conquered America...possibly somewhere💷 between electro and progressive house, directed by Michael Bay, and like many music genres, trying to pin it down exactly💷 is like trying to grab a fistful of water".[105] In the UK, "dance music" or "dance" are more common terms💷 for EDM.[4] What is widely perceived to be "club music" has changed over time; it now includes different genres and💷 may not always encompass EDM. Similarly, "electronic dance music" can mean different things to different people. Both "club music" and💷 "EDM" seem vague, but the terms are sometimes used to refer to distinct and unrelated genres (club music is defined💷 by what is popular, whereas EDM is distinguished by musical attributes).[96] Though Billboard debuted a "dance" chart in 1974, the💷 larger US music industry did not create music charts until the late 1990s.[93] In July 1995, Nervous Records and Project💷 X Magazine hosted the first awards ceremony, calling it the "Electronic Dance Music Awards".[Note 4]
Production [ edit ]
A typical home💷 studio setup for EDM production with computer, audio interface and various MIDI instruments.
Electronic dance music is generally composed and produced💷 in a recording studio with specialized equipment such as samplers, synthesizers, effects units and MIDI controllers all set up to💷 interact with one another using the MIDI protocol. In the genre's early days, hardware electronic musical instruments were used and💷 the focus in production was mainly on manipulating MIDI data as opposed to manipulating audio signals. Since the late 1990s,💷 the use of software has increased. A modern electronic music production studio generally consists of a computer running a digital💷 audio workstation (DAW), with various plug-ins installed such as software synthesizers and effects units, which are controlled with a MIDI💷 controller such as a MIDI keyboard. This setup is generally sufficient to complete entire productions, which are then ready for💷 mastering.[106]
Ghost production [ edit ]
A ghost producer is a hired music producer in a business arrangement who produces a song💷 for another DJ/artist that releases it as their own,[107] typically under a contract which prevents them from identifying themselves as💷 a personnel of the song.[108] Ghost producers receive a simple fee or royalty payments for their work and are often💷 able to work in their preference of not having the intense pressure of fame and the lifestyle of an internationally💷 recognized DJ.[107] A ghost producer may increase their notability in the music industry by acquainting with established "big name" DJs💷 and producers.[107] Producers like Martin Garrix and Porter Robinson are often noted for their ghost production work for other producers💷 while David Guetta and Steve Aoki are noted for their usage of ghost producers in their songs whereas DJs like💷 Tiësto have been openly crediting their producers in an attempt to avoid censure and for transparency.[109]
Many ghost producers sign agreements💷 that prevent them from working for anyone else or establishing themselves as a solo artist.[110] Such non-disclosure agreements are often💷 noted as predatory because ghost producers, especially teenage producers, do not have an understanding of the music industry.[110] London producer💷 Mat Zo has alleged that DJs who hire ghost producers "have pretended to make their own music and [left] us💷 actual producers to struggle".[111]
Bedroom production [ edit ]
A bedroom producer is an independent musician who creates electronic music on their💷 laptop or in a home studio. Unlike in traditional recording studios, bedroom producers typically use low-cost, accessible software and equipment💷 which can lead to music being created completely "in the box," with no external hardware.[112]
Popularization [ edit ]
United States [💷 edit ]
Initially, the popularization of electronic dance music was associated with European rave and club culture and it achieved limited💷 popular exposure in the United States. By the mid-to-late 1990s this began to change as the American music industry made💷 efforts to market a range of dance genres as "electronica".[113] At the time, a wave of electronic music bands from💷 the United Kingdom, including The Prodigy, The Chemical Brothers, Fatboy Slim and Underworld, had been prematurely associated with an "American💷 electronica revolution".[114][115] But rather than finding mainstream success, many established EDM acts were relegated to the margins of the US💷 industry.[114] In 1998, Madonna's album Ray of Light—heavily influenced by club music trends and produced with British producer William Orbit—brought💷 dance music to the attention of popular music listeners.[116][117] In the late 1990s, despite US media interest in dance music💷 re-branded as electronica, American house and techno producers continued to travel abroad to establish their careers as DJs and producers.[114]💷 According to New York Times journalist Kelefa Sanneh, Aaliyah's 2000 single "Try Again" "helped smuggle the innovative techniques of electronic💷 dance music onto the American pop charts"[118]
By the mid-2000s, Dutch producer Tiësto was bringing worldwide popular attention to EDM after💷 providing a soundtrack to the entry of athletes during the opening ceremony of the 2004 Summer Olympics — an event💷 which The Guardian deemed as one of the 50 most important events in dance music.[119] In 2003, the influence of💷 dance music on American radio resulted in Billboard creating the first-ever Dance/Mix Show Airplay chart.[120] By 2005, the prominence of💷 dance music in North American popular culture had markedly increased. According to Spin, Daft Punk's performance at Coachella in 2006💷 was the "tipping point" for EDM—it introduced the duo to a new generation of "rock kids".[114] As noted by Entertainment💷 Weekly, Justin Timberlake's "SexyBack" helped introduce EDM sounds to top 40 radio, as it brought together variations of electronic dance💷 music with the singer's R&B sounds.[121][122] In 2009, French house musician David Guetta began to gain prominence in mainstream pop💷 music thanks to several crossover hits on Top 40 charts such as "When Love Takes Over" with Kelly Rowland,[123] as💷 well as his collaborations with US pop and hip hop acts such as Akon ("Sexy Bitch") and The Black Eyed💷 Peas ("I Gotta Feeling").[124] The music sharing website SoundCloud, as well as the video sharing website YouTube, also helped fuel💷 interest in electronic music. Dubstep producer Skrillex popularized a harsher sound dubbed "Brostep", which had drawn comparisons to the aggression💷 and tone of heavy metal.[3][125][126][127]
With the increasing popularity of electronic dance music, promoters and venues realized that DJs could generate💷 larger profits than traditional musicians; Diplo explained that "a band plays [for] 45 minutes; DJs can play for four hours.💷 Rock bands—there's a few headliner dudes that can play 3,000–4,000-capacity venues, but DJs play the same venues, they turn the💷 crowd over two times, people buy drinks all night long at higher prices—it's a win-win."[114] Electronic music festivals, such as💷 Electric Daisy Carnival (EDC) in Las Vegas and Ultra Music Festival in Miami also grew in size, placing an increased💷 emphasis on visual experiences, and DJs who had begun to attain a celebrity status.[3][125] Other major acts that gained prominence,💷 including Avicii and Swedish House Mafia, toured major venues such as arenas and stadiums rather than playing clubs; in December💷 2011, Swedish House Mafia became the first electronic music act to sell out New York City's Madison Square Garden.[125]
In 2011,💷 Spin declared a "new rave generation" led by acts like David Guetta, Deadmau5, and Skrillex.[114] In January 2013, Billboard introduced💷 a new EDM-focused Dance/Electronic Songs chart, tracking the top 50 electronic songs based on sales, radio airplay, club play, and💷 online streaming.[128] According to Eventbrite, EDM fans are more likely to use social media to discover and share events or💷 gigs. They also discovered that 78% of fans say they are more likely to attend an event if their peers💷 do, compared to 43% of fans in general. EDM has many young and social fans.[129] By late 2011, Music Trades💷 was describing electronic dance music as the fastest-growing genre in the world.[130] Elements of electronic music also became increasingly prominent💷 in pop music.[114] Radio and television also contributed to dance music's mainstream acceptance.[131]
US corporate interest [ edit ]
Corporate consolidation in💷 the EDM industry began in 2012—especially in terms of live events. In June 2012, media executive Robert F. X. Sillerman—founder💷 of what is now Live Nation—re-launched SFX Entertainment as an EDM conglomerate, and announced his plan to investR$1 billion to💷 acquire EDM businesses. His acquisitions included regional promoters and festivals (including ID&T, which organises Tomorrowland), two nightclub operators in Miami,💷 and Beatport, an online music store which focuses on electronic music.[132][133] Live Nation also acquired Cream Holdings and Hard Events,💷 and announced a "creative partnership" with EDC organizers Insomniac Events in 2013 that would allow it to access its resources💷 whilst remaining an independent company;[134] Live Nation CEO Michael Rapino described EDM as the "[new] rock 'n' roll".[113][135][136]
US radio conglomerate💷 iHeartMedia, Inc. (formerly Clear Channel Media and Entertainment) also made efforts to align itself with EDM. In January 2014 It💷 hired noted British DJ and BBC Radio 1 personality Pete Tong to produce programming for its "Evolution" dance radio brand,[137]💷 and announced a partnership with SFX to co-produce live concerts and EDM-oriented original programming for its top 40 radio stations.💷 iHeartMedia president John Sykes explained that he wanted his company's properties to be the "best destination [for EDM]".[138][139]
Major brands have💷 also used the EDM phenomena as a means of targeting millennials[140][141][142][143] and EDM songs and artists have increasingly been featured💷 in television commercials and programs.[144] Avicii's manager Ash Pournouri compared these practices to the commercialization of hip-hop in the early💷 2000s.[144] Heineken has a marketing relationship with the Ultra Music Festival, and has incorporated Dutch producers Armin van Buuren and💷 Tiësto into its ad campaigns. Anheuser-Busch has a similar relationship as beer sponsor of SFX Entertainment events.[144] In 2014, 7💷 Up launched "7x7Up"—a multi-platform EDM-based campaign that included digital content, advertising featuring producers, and branded stages at both Ultra and💷 Electric Daisy Carnival.[140][145][146] Wireless carrier T-Mobile US entered into an agreement with SFX to become the official wireless sponsor of💷 its events, and partnered with Above & Beyond to sponsor its 2024 tour.[141]
In August 2024, SFX began to experience declines💷 in its value,[147] and a failed bid by CEO Sillerman to take the company private. The company began looking into💷 strategic alternatives that could have resulted in the sale of the company.[148][149] In October 2024, Forbes declared the possibility of💷 an EDM "bubble", in the wake of the declines at SFX Entertainment, slowing growth in revenue, the increasing costs of💷 organizing festivals and booking talent, as well as an oversaturation of festivals in the eastern and western United States. Insomniac💷 CEO Pasquale Rotella felt that the industry would weather the financial uncertainty of the overall market by focusing on "innovation"💷 and entering into new markets.[150] Despite forecasts that interest in popular EDM would wane, in 2024 it was estimated to💷 be a £5.5bn industry in the US, up by 60% compared to 2012 estimates.[151]
SFX emerged from bankruptcy in December 2024💷 as LiveStyle, under the leadership of Randy Phillips, a former executive of AEG Live.[152][153] The company began to slowly divest💷 its live music assets in 2024, including selling its stakes in Rock in Rio (which it had bought as part💷 of an attempted Las Vegas edition of the festival),[154][155] and later other SFX-owned promoters such as ID&T[156][157] and React Presents.[158]💷 Phillips stepped down as CEO in 2024 to pursue other projects.[159]
Criticism of over-commercialization [ edit ]
Following the popularization of EDM💷 in America a number of producers and DJs, including Carl Cox, Steve Lawler, and Markus Schulz, raised concerns that the💷 perceived over-commercialisation of dance music had impacted the art of DJing. Cox saw the "press-play" approach taken by newer EDM💷 DJs as unrepresentative of what he called a "DJ ethos".[125] Writing in Mixmag, DJ Tim Sheridan argued that "push-button DJs"💷 who use auto-sync and play pre-recorded sets of "obvious hits" resulted in a situation overtaken by "the spectacle, money and💷 the showbiz".[160]
Some house producers openly admitted that "commercial" EDM needed further differentiation and creativity. Avicii, whose 2013 album True featured💷 songs incorporating elements of bluegrass, such as lead single "Wake Me Up", stated that most EDM lacked "longevity".[161] Deadmau5 criticized💷 the homogenization of popular EDM, and suggested that it "all sounds the same". During the 2014 Ultra Music Festival, Deadmau5💷 made critical comments about up-and-coming EDM artist Martin Garrix and later played an edited version of Garrix's "Animals" remixed to💷 the melody of "Old McDonald Had a Farm". Afterwards, Tiësto criticized Deadmau5 on Twitter for "sarcastically" mixing Avicii's "Levels" with💷 his own "Ghosts 'n' Stuff" (in reference to being a last-minute substitution for Avicii on the festival schedule due to💷 a medical issue), to which Deadmau5 asked whether playing a song "sarcastically" involved "sneer[ing] while hitting the sync button".[162][163][164][165]
In May💷 2014, the NBC comedy series Saturday Night Live parodied the stereotypes of EDM culture and push-button DJs in a Digital💷 Short titled When Will the Bass Drop?. It featured a DJ who goes about performing everyday activities—playing a computer game,💷 frying eggs, collecting money—who then presses a giant "BASS" button, which explodes the heads of concertgoers.[166][167][168]
After years of rapid growth,💷 the American popular EDM market started to wane in 2024 when a number of artists famous for producing so-called 'big💷 room' electro-house started to diversify stylistically. This development was directly referenced by two such DJs – David Guetta and Showtek💷 – in a techno-influenced single released in April 2024 titled 'The Death of EDM'.[169] By the end of the 2010s,💷 EDM's position as the dominant force in mainstream popular music began to plateau as it became displaced by other styles.[105][170]
International💷 [ edit ]
In May 2024, the International Music Summit's Business Report estimated that the global electronic music industry had reached💷 nearlyR$6.9 billion in value; the count included music sales, events revenue (including nightclubs and festivals), the sale of DJ equipment💷 and software, and other sources of revenue. The report also identified several emerging markets for electronic dance music, including East💷 Asia, India, and South Africa, credited primarily to investment by domestic, as well as American and European interests. A number💷 of major festivals also began expanding into Latin America.[171]
In Ghana, West Africa, an artist named Djsky introduced EDM in 2024–present💷 and organised successful festivals and events such as Hey Ibiza, Sunset music Festival, Sky show and more.[172][173][174][175] In an interview💷 with WatsUp TV, Djsky revealed he was the first to introduce Electronic Music Dance into Ghana music.[176][177]
In Ethiopia EDM has💷 become part of mainstream music after the 2024 breakthrough of a young artist named Rophnan which incorporated EDM sound with💷 traditional rhythms and melodies.[178] In his shows, tens of thousands of youth were packing stadiums across the country and radios💷 started to play the emerging genre.[179][180]
China is a market where EDM had initially made relatively few inroads; although promoters believed💷 that the mostly instrumental music would remove a metaphorical language barrier, the growth of EDM in China was hampered by💷 the lack of a prominent rave culture in the country as in other regions, as well as the popularity of💷 domestic Chinese pop over foreign artists. Former Universal Music executive Eric Zho, inspired by the US growth, made the first💷 significant investments in electronic music in China, including the organisation of Shanghai's inaugural Storm festival in 2013, the reaching of💷 a title sponsorship deal for the festival with Anheuser-Busch's Budweiser brand, a local talent search, and organising collaborations between EDM💷 producers and Chinese singers, such as Avicii and Wang Leehom's "Lose Myself". In the years following, a larger number of💷 EDM events began to appear in China, and Storm itself was also preceded by a larger number of pre-parties in💷 2014 than its inaugural year. A new report released during the inaugural International Music Summit China in October 2024 revealed💷 that the Chinese EDM industry was experiencing modest gains, citing the larger number of events (including new major festival brands💷 such as Modern Sky and YinYang), a 6% increase in the sales of electronic music in the country, and the💷 significant size of the overall market. Zho also believed that the country's "hands-on" political climate, as well as investments by💷 China into cultural events, helped in "encouraging" the growth of EDM in the country.[181][182]
Social impact [ edit ]
Festivals [ edit💷 ]
An EDM festival in 2013 in Plainfeld, Austria with over 100,000 attendees,[183] exhibiting the large crowds and dramatic lighting common💷 at such events since the early 2000s.[3]
In the 1980s, electronic dance music was often played at illegal underground rave parties💷 held in secret locations, for example, warehouses, abandoned aircraft hangars, fields and any other large, open areas. In the 1990s💷 and 2000s, aspects of the underground rave culture of the 1980s and early 1990s began to evolve into legitimate, organized💷 EDM concerts and festivals. Major festivals often feature a large number of acts representing various EDM genres spread across multiple💷 stages. Festivals have placed a larger emphasis on visual spectacles as part of their overall experiences, including elaborate stage designs💷 with underlying thematics, complex lighting systems, laser shows, and pyrotechnics. Rave fashion also evolved among attendees, which The Guardian described💷 as having progressed from the 1990s "kandi raver" to "[a] slick and sexified yet also kitschy-surreal image midway between Venice💷 Beach and Cirque du Soleil, Willy Wonka and a gay pride parade".[3][125][145] These events differed from underground raves by their💷 organized nature, often taking place at major venues, and with measures to ensure the health and safety of attendees.[184] MTV's💷 Rawley Bornstein described electronic music as "the new rock and roll",[185] as has Lollapalooza organizer Perry Farrell.[186]
Spectrum Dance Music Festival,💷 2024
Ray Waddell of Billboard noted that festival promoters have done an excellent job at branding.[185] Larger festivals have been shown💷 to have positive economic impacts on their host cities[184] the 2014 Ultra Music Festival brought 165,000 attendees—and overR$223 million—to the💷 Miami/South Florida region's economy.[146] The inaugural edition of TomorrowWorld—a U.S.-based version of Belgium's Tomorrowland festival, broughtR$85.1 million to the Atlanta💷 area—as much revenue as its hosting of the NCAA Final Four (the semi-final and national championship games of the NCAA💷 Division I men's basketball tournament) earlier in the year.[187] EDC Las Vegas boosted the Clark County economy byR$350.3 million in💷 2024 alone, with over 405,000 attendees across three days (June 19–21).[188]
The popularity of EDM and festivals also led some multi-genre💷 festivals not strongly associated with electronic music, such as Coachella and Lollapalooza, to add more electronic acts to their lineup.💷 They often play EDM-specific stages, but major acts such as Deadmau5, Calvin Harris and Subtronics have made overall headlining appearances💷 on the main stages of Lollapalooza and Coachella respectively—placements that are typically associated with rock and alternative acts.[189][190] Russell Smith💷 of The Globe and Mail felt that the commercial festival industry was an antithesis to the original principles of the💷 rave subculture, citing "the expensive tickets, the giant corporate sponsors, the crass bro culture—shirtless muscle boys who cruise the stadiums,💷 tiny popular girls in bikinis who ride on their shoulders – not to mention the sappy music itself."[191] Drug-related incidents,💷 as well as other complaints surrounding the behaviour of their attendees, have contributed to negative perceptions and opposition to electronic💷 music events by local authorities.[191][192]
After Ultra Music Festival 2014, where a crowd of gatecrashers trampled a security guard on its💷 first day, Miami's city commissioners considered banning the festival from being held in the city, citing the trampling incident, lewd💷 behavior, and complaints by downtown residents of being harassed by attendees. The commissioners voted to allow Ultra to continue being💷 held in Miami due to its positive economic effects, under the condition that its organizers address security, drug usage and💷 lewd behavior by attendees.[193][194][195] In 2024, after continued concerns, the commissioners voted to bar the festival from being held in💷 Bayfront Park and downtown Miami,[196][197][198] but subsequently approved a proposal to move the event to one of Miami's barrier islands,💷 Virginia Key.[199] Following the festival, which was impacted by transportation issues (as there is only one vehicular link between Virginia💷 Key and mainland Miami) and other problems, Ultra pulled out of the agreement, and negotiated an agreement to return to💷 Bayfront Park.[200][201] The UK Jungle and Drum and Bass focused record label, Hospital Records, runs a festival called Hospitality[202] in💷 clubs and other locations scattered around the UK and other countries with big EDM influence. These events are usually concerts💷 from artists on the record's roster of musicians.
COVID-19 Impact [ edit ]
Due to the COVID-19 pandemic, cancellation of festivals, accompanied💷 by the restrictions on social distancing has negatively impacted economic activity of festivals and the music industry.[203] Festivals are required💷 to have regulations on health and safety, as well as deal with crisis and risk management, since they are at💷 high risk due to the mass of people that attend. As a result, it has become normal for festivals or💷 performances to be streamed online.[203]
During 2024, all large EDM music festivals were postponed or canceled due to the COVID-19 pandemic.💷 On March 4, 2024, Ultra Miami was the first electronic dance music festival to cancel an event since the event💷 could not conform to the state's capacity rules and county's safety protocols and regulations.[204] On April 21, 2024, Electric Forest💷 music festival in Rothbury, Michigan rescheduled their event on June 25–27, 2024 to June 2024 due to health concerns.[205] On💷 July 9, 2024, New York City Mayor Bill de Blasio decided that all sizeable events will be suspended through September💷 30.[206] As a result, Electric Zoo 2024, which takes place on Randall's Island in New York City during Labor Day💷 Weekend, fully canceled their 2024 event.
Electric Daisy Carnival Las Vegas (EDC), the biggest dance music festival in North America, was💷 scheduled to happen on May 15–17, 2024. In April, EDC postponed their May event to October 2–4, 2024, and later💷 declared on August 2 that EDC Las Vegas 2024 would be officially canceled.[207] Instead, EDC CEO Pasquale Rotella announced the💷 celebration of EDC's 25th anniversary on May 21–23, 2024.[208] On April 9, 2024, EDC had not yet released their lineup💷 and COVID-19 safety protocols for the event happening in May 2024.[209] On April 20, 2024, Rotella postponed the festival to💷 October 22–24, 2024.[210]
The cancellations of these events economically hurt the music industry and the companies that run these events. EDC💷 2024 originally sold out of the 200,000 tickets for their first event, but offered full returns for those who could💷 not make it to new dates.[211] Electric Zoo included an incentive for customers to keep their ticket by providing an💷 extraR$50 for General Admission tickets andR$100 for VIP tickets to spend on merchandise and food on festival grounds.[212] Most music💷 festival companies offered to rollover the ticket to their next event or give full refunds to those who could not💷 attend, but ultimately lost a lot of customers due to the uncertainty of COVID-19.[203]
Association with recreational drug use [ edit💷 ]
Dance music has a long association with recreational drug use,[213] particularly with a wide range of drugs that have been💷 categorized under the name "club drugs". Russell Smith noted that the association of drugs and music subcultures was by no💷 means exclusive to electronic music, citing previous examples of music genres that were associated with certain drugs, such as psychedelic💷 rock and LSD, disco music and cocaine, and punk music and heroin.[191]
Pictured above is what the drug ecstasy commonly looks💷 like, though there are many different shapes and forms.
Methylenedioxymethamphetamine (MDMA), also known as ecstasy, "E", or "Molly", is often considered💷 the drug of choice within the rave culture and is also used at clubs, festivals and house parties.[214] In the💷 rave environment, the sensory effects from the music and lighting are often highly synergistic with the drug. The psychedelic amphetamine💷 quality of MDMA offers multiple reasons for its appeals to users in the "rave" setting. Some users enjoy the feeling💷 of mass communion from the inhibition-reducing effects of the drug, while others use it as party fuel because of the💷 drug's stimulatory effects.[215] Another drug para-Methoxyamphetamine (4-MA) also known as pink ecstasy, PMA, "Death" or "Dr. Death", it is similar💷 to MDMA but they can take up to an hour to produce effects, which can result in hyperthermia and subsequently,💷 organ failure. People who take PMA are often mistaken for it being identified as MDMA.[216][217]
MDMA is occasionally known for being💷 taken in conjunction with psychedelic drugs. The more common combinations include MDMA combined with LSD, MDMA combined with DMT, MDMA💷 with psilocybin mushrooms, and MDMA with the dissociative drug ketamine. Many users use mentholated products while taking MDMA for its💷 cooling sensation while experiencing the drug's effects. Examples include menthol cigarettes, Vicks VapoRub, NyQuil,[218] and lozenges.
The incidence of nonmedical ketamine💷 has increased in the context of raves and other parties.[219] However, its emergence as a club drug differs from other💷 club drugs (e.g. MDMA) due to its anesthetic properties (e.g., slurred speech, immobilization) at higher doses; in addition, there are💷 reports of ketamine being sold as "ecstasy".[221] The use of ketamine as part of a "postclubbing experience" has also been💷 documented.[222] Ketamine's rise in the dance culture was rapid in Hong Kong by the end of the 1990s. Before becoming💷 a federally controlled substance in the United States in 1999, ketamine was available as diverted pharmaceutical preparations and as a💷 pure powder sold in bulk quantities from domestic chemical supply companies.[223] Much of the current ketamine diverted for nonmedical use💷 originates in China and India.[223]
Drug-related deaths at electronic dance music events [ edit ]
A number of deaths attributed to apparent💷 drug use have occurred at major electronic music concerts and festivals. The Los Angeles Memorial Coliseum blacklisted Insomniac Events after💷 an underaged attendee died from "complications of ischemic encephalopathy due to methylenedioxymethamphetamine intoxication" during Electric Daisy Carnival 2010; as a💷 result, the event was re-located to Las Vegas the following year.[224][184][225][226][227] Drug-related deaths during Electric Zoo 2013 in New York💷 City, United States, and Future Music Festival Asia 2014 in Kuala Lumpur, Malaysia, prompted the final day of both events💷 to be cancelled,[226][228] while Life in Color cancelled a planned event in Malaysia out of concern for the incident, and💷 other drug-related deaths that occurred at the A State of Trance 650 concerts in Jakarta, Indonesia.[229][230][231]
In September 2024, the city💷 of Buenos Aires, Argentina banned all electronic music events, pending future legislation, after five drug-related deaths and four injuries at💷 a Time Warp Festival event in the city in April 2024. The ban forced electronic band Kraftwerk to cancel a💷 planned concert in the city, despite arguing that there were dissimilarities between a festival and their concerts.[232][233]
Industry awards [ edit💷 ]
See also [ edit ]
(alphabetical)
Notes [ edit ]
^ Fikentscher (2000) , p. 5, in discussing the definition of underground dance💷 music as it relates to post-disco music in America, states that: "The prefix 'underground' does not merely serve to explain💷 that the associated type of music—and its cultural context—are familiar only to a small number of informed persons. Underground also💷 points to the sociological function of the music, framing it as one type of music that to have meaning and💷 continuity is kept away, to a large degree, from mainstream society, mass media, and those empowered to enforce prevalent moral💷 and aesthetic codes and values." ^ "Although it can now be heard in Detroit's leading clubs, the local area has💷 shown a marked reluctance to get behind the music. It has been in clubs like the Powerplant (Chicago), The World💷 (New York), The Hacienda (Manchester), Rock City (Nottingham), and Downbeat (Leeds) where the techno sound has found most support. Ironically,💷 the only Detroit club which really championed the sound was a peripatetic party night called Visage, which unromantically shared its💷 name with one of Britain's oldest new romantic groups".
References [ edit ]
Bibliography [ edit ]
