Electronica

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This article is about the musical genre. For the major biennial international electronic trade fair in Munich, Germany, see Electronica (trade fair). For the Disney California Adventure attraction, see ElecTRONica.

Electronica is a music genre encompassing a wide range of contemporary electronic music designed for a wide range of uses, including foreground listening, some forms of dancing, and background music for other activities. Unlike electronic dance music (EDM), not all examples of electronica are necessarily made for dancing.[1][2] The genre is loosely defined and has different connotations in different regions and time periods.

Electronica has grown to influence mainstream crossover recordings. Electronic sounds began to form the basis of a wide array of popular music in the late 1970s and early 1980s, and became key to the mainstream pop and rock sounds of the 1980s. Since the adoption of "electronica" in the 1990s to refer to more underground music with an electronic aesthetic, elements of modern electronica have been adopted by many popular artists in mainstream music.

Regional definitions[edit]

In North America, in the late 1990s, the mainstream music industry adopted and to some extent manufactured electronica as an umbrella term encompassing styles such as techno, big beat, drum 'n' bass, trip hop, downtempo, and ambient, regardless of whether it was curated by indie labels catering to the "underground" nightclub and rave scenes,[2][3] or licensed by major labels and marketed to mainstream audiences as a commercially viable alternative to alternative rock music.[4] By the late 2000s, however, the industry abandoned electronica in favor of EDM, a term with roots in academia and an increasing association with outdoor music festivals and relatively mainstream, post-rave electro house and dubstep music. Nevertheless, the U.S.-based Allmusic still categorises electronica as a top-level genre, stating that it includes danceable grooves, as well as music for headphones and chillout areas.[5]

In other parts of the world, especially in the UK, electronica is also a broad term, but is associated with non-dance-oriented music, including relatively experimental styles of downtempo electronic music. It partly overlaps what is known chiefly outside the UK as IDM.

A wave of diverse acts[edit]

Electronica took benefit from advancements in music technology, especially electronic musical instruments, synthesizers, music sequencers, drum machines, and digital audio workstations. As the technology developed, it became possible for individuals or smaller groups to produce electronic songs and recordings in smaller studios, even in project studios. At the same time, computers facilitated the use of music "samples" and "loops" as construction kits for sonic compositions.[6] This led to a period of creative experimentation and the development of new forms, some of which became known as electronica.[7][8]

Electronica currently includes a wide variety of musical acts and styles, linked by a penchant for overtly electronic production;[9] a range which includes more popular acts such as Björk, Madonna, Goldfrapp and IDM artists such as Autechre, and Aphex Twin to dub-oriented downtempo, downbeat, and trip-hop. Madonna and Björk are said to be responsible for electronica's thrust into mainstream culture, with their albums Ray of Light (Madonna),[10] Post and Homogenic (Björk). Electronica artists that would later become commercially successful began to record in the late 1980s, before the term had come into common usage, including for example The Prodigy, Fatboy Slim, Daft Punk, The Chemical Brothers, The Crystal Method, Epoch, Moby, Electro Arcade, Underworld and Faithless.[11] Electronica composers often create alternate versions of their compositions, known as "remixes"; this practice also occurs in related musical forms such as ambient, jungle, and electronic dance music.[12] Wide ranges of influences, both sonic and compositional, are combined in electronica recordings.[13] Hits from this period include instrumental pieces like Children by Robert Miles (1995).

The more abstract Autechre and Aphex Twin around this time were releasing early records in the "intelligent techno" or so-called intelligent dance music (IDM) style, while other Bristol-based musicians such as Tricky, Leftfield, Massive Attack and Portishead were experimenting with the fusion of electronic textures with hip-hop, R&B rhythms to form what became known as trip-hop. Later extensions to the trip-hop aesthetic around 1997 came from the highly influential Vienna-based duo of Kruder & Dorfmeister, whose blunted, dubbed-out, slowed beats became the blueprint for the new style of downtempo.

It could be noted that older bands such as Eurythmics, Erasure, New Order and Depeche Mode had built on the new wave music of the 1980s and added more dance and electronic instrumentation and alternative rock influences to become early pioneers of "electronica" music.

Global patterns of popularity[edit]

By the late 1990s, artists like Moby had become internationally famous, releasing albums and performing regularly in major venues.

New York City became one center of experimentation and growth for the electronica sound, with DJs and music producers from areas as diverse as Southeast Asia and Brazil brought their creative work to the nightclubs of that city.[14][15]

Effect on mainstream popular music[edit]

Around the mid-1990s, with the success of the big beat-sound exemplified by The Chemical Brothers and The Prodigy in the UK, and spurred by the attention from mainstream artists, including Madonna in her collaboration with William Orbit on her album Ray of Light[10] and Australian singer Dannii Minogue with her 1997 album Girl,[16] music of this period began to be produced with a higher budget, increased technical quality, and with more layers than most other forms of dance music, since it was backed by major record labels and MTV as the "next big thing".[17]

In the late 80s, rave culture began to filter through from English ex-pats and DJs who would visit Europe. However, rave culture's major expansion in North America is often credited to Frankie Bones, who after spinning a party in an aircraft hangar in England helped organize some of the earliest known American raves in the 1990s in New York City called "Storm Raves" which maintained a consistent core audience. Coinciding at the same time, were the "NASA" parties in NYC by DJ Scotto which was featured in the 1995 movie kids (film) and forthcoming was concert producer p.a.w.n. Lasers in Pennsylvania who later became the most well known laser company at raves in East Coast by cross-promoting these rave events State to State as far south as Florida and Louisiana. After this, hundreds of smaller promotional groups sprung up across the east coast such as Ultraworld (MD,DC), Park Rave Madness (NYC), G.O. Guaranteed Overdose (NYC), Local 13 (NJ), Caffeine (NYC), Liquid Grooove aka Liquified (GA), Columns of Knowledge (CT), Special K aka Circle Management (PA), Zen Festivals (FL), Disco Donnie (LA), Ultra Music Festival (FL), and later the west coast, causing a true "scene" to develop.

According to a 1997 Billboard article, "[t]he union of the club community and independent labels" provided the experimental and trend-setting environment in which electronica acts developed and eventually reached the mainstream. It cites American labels such as Astralwerks (The Future Sound of London, Fluke), Moonshine (DJ Keoki), Sims, and City of Angels (The Crystal Method) for playing a significant role in discovering and marketing artists who became popularized in the electronica scene.[2]

Radiohead's Kid A (2000) found one of the most polarised critical receptions for an adoption of electronic sounds by a rock group, but the album also received wide acclaim, their next album Amnesiac (2001) further diverged into electronic style. and the band cited their debts to many electronic musicians, such as Autechre and Boards of Canada, in a recording which reached number one on the US album charts.[citation needed]

In the early 2000s, electronica-inspired post-punk experienced a revival, with rock bands such as Interpol and The Killers specifically drawing on the 1980s sound of New Order and The Cure.[citation needed]

With newly prominent music styles such as reggaeton, and subgenres such as electroclash, and favela funk, electronic music styles in the current decade are seen to permeate nearly all genres of the mainstream and indie landscape such that a distinct "electronica" genre of pop music is rarely noted.[citation needed]

Hip hop fusion[edit]

Hip hop DJs and producers had been mining electronic sounds to create beats since Afrika Bambaataa and Grandmaster Flash pioneered the use of drum machines and synthesizers in the early 1980s, and the hip hop genre shared with other forms of electronic music an emphasis on sampling. Beginning with the success of Dr. Dre and G-funk rap in the mid-1990s, many hip hop producers began turning to a more synthesized sound, resulting in the rise of "superproducers" such as The Neptunes, who cultivated a science fiction image with sleek, overtly electronic beats, and Timbaland, who did likewise and also was known for creative sampling, rising to fame for his work with Aaliyah and Missy Elliott and producing a variety of pop and R&B records for artists such as Justin Timberlake. Timberlake's 2006 hit songs "SexyBack" and "My Love", both produced by Timbaland, were particularly notable for their electronic aesthetic, while The Neptunes worked with a range of acts from Britney Spears to Jay-Z.

A variety of other hip hop performers used electronica-influenced sounds as hooks in their songs. Outkast, a popular and acclaimed hip hop duo, adopted sounds in their 2003 hit single "Hey Ya" and member/producer Andre Benjamin praised the music of Squarepusher. In 2007 Kanye West, initially known for more natural sounding hip hop productions influenced by classic R&B music, released his third album Graduation, which featured some songs with a sharp electronic aesthetic, a sound which greatly expanded on West's latest album, where he emphasized synthesizer and vocal manipulations prominently and cited major influences from 1980s synthpop music, as well as from T-Pain, a hip-hop performer known for manipulating his voice by using the electronic effect processor Autotune. However, West's 2007 single "Stronger" used a prominent sample from a song by the French dance-oriented electronic act Daft Punk, whose work in the 1990s and early 2000s was also becoming highly sampled and influential on the musical aesthetic of acts in other genres such as indie rock and indie dance.

Electronica in 2009 gained global recognition as an essential part of most hip hop becoming the core sound on a range of tracks by artists like The Black Eyed Peas and new emerging artists like Tinie Tempah, and in 2010 Daft Punk with the release of the soundtrack for Tron: Legacy.

Post-hardcore fusion[edit]

Main article: Electronicore

In the mid to late 2000s, many electronic post-hardcore bands that were newly formed began receiving attention.[18] I See Stars's debut-full length album, 3-D and metalcore band, Attack Attack!'s debut album, Someday Came Suddenly, set a precedent for newer bands of this style.[19]

The first single from Someday Came Suddenly, "Stick Stickly", was released on June 4, 2009. It reached a good amount of popularity as it spawned a music video as well as its inclusion as downloadable content for Rock Band 2 via the Rock Band Network in March 2010.[20] Canadian post-hardcore band, Abandon All Ships further popularized this genre. Upon being signed to Rise Records, the band had a large success with their single "Take One Last Breath".[21] British metalcore band Asking Alexandria expanded on the traditional electronica sounds in their cover of Akon's "Right Now (Na Na Na)" on Punk Goes Pop 3.

These bands often play songs that contain "dancable beats, with some breakdowns splashed in."[22]

Included in today's media[edit]

In the late 1990s and early 2000s, electronica music was increasingly used as background scores for television advertisements, initially for automobiles. It was also used for various video games, including the Wipeout series, for which the soundtrack was composed of many popular electronica tracks that helped create more interest in this type of music[23]—and later for other technological and business products such as computers and financial services. Then in 2011, Hyundai Veloster, in association with The Grammys, produced a project that became known as Re:Generation.[24]

See also[edit]

References[edit]

  1. ^ Verderosa, Tony (2002). The Techno Primer: The Essential Reference for Loop-Based Music Styles. Hal Leonard Music/Songbooks. p. 28. ISBN 0-634-01788-8. "Electronica is a broad term used to describe the emergence of electronic music that is geared for listening instead of strictly for dancing." 
  2. ^ a b c Flick, Larry (May 24, 1997). "Dancing to the beat of an indie drum". Billboard 109 (21). pp. 70–71. ISSN 0006-2510. 
  3. ^ Kim Cascone (Winter 2002). "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music". Computer Music Journal (MIT Press) 24 (4). "The glitch genre arrived on the back of the electronica movement, an umbrella term for alternative, largely dance-based electronic music (including house, techno, electro, drum'n'bass, ambient) that has come into vogue in the past five years. Most of the work in this area is released on labels peripherally associated with the dance music market, and is therefore removed from the contexts of academic consideration and acceptability that it might otherwise earn. Still, in spite of this odd pairing of fashion and art music, the composers of glitch often draw their inspiration from the masters of 20th century music who they feel best describe its lineage." 
  4. ^ Norris, Chris (April 21, 1997). "Recycling the Future". New York: 64–65. "With record sales slumping and alternative rock presumed over, the music industry is famously desperate for a new movement to replace its languishing grunge product. And so its gaze has fixed on a vital and international scene of knob-twiddling musicians and colorfully garbed clubgoers—a scene that, when it began in Detroit discos ten years ago, was called techno. If all goes according to marketing plan, 1997 will be the year "electronica" replaces "grunge" as linguistic plague, MTV buzz, ad soundtrack, and runway garb. The music has been freshly installed in Microsoft commercials, in the soundtrack to Hollywood's recycled action-hero pic The Saint, and in MTV's newest, hourlong all-electronica program, Amp." 
  5. ^ "'Reaching back to grab the grooves of '70s disco/funk and the gadgets of electronic composition, Electronica soon became a whole new entity in and of itself, spinning off new sounds and subgenres with no end in sight two decades down the pike. Its beginnings came in the post-disco environment of Chicago/New York and Detroit, the cities who spawned house and techno (respectively) during the 1980s. Later in that decade, club-goers in Britain latched onto the fusion of mechanical and sensual, and returned the favor to hungry Americans with new styles like jungle/drum'n'bass and trip-hop. Though most all early electronica was danceable, by the beginning of the '90s, producers were also making music for the headphones and chill-out areas as well, resulting in dozens of stylistic fusions like ambient-house, experimental techno, tech-house, electro-techno, etc. Typical for the many styles gathered under the umbrella was a focus on danceable grooves, very loose song structure (if any), and, in many producers, a relentless desire to find a new sound no matter how tepid the results." Electronica Genre at AllMusic
  6. ^ "This loop slicing technique is common to the electronica genre and allows a live drum feel with added flexibility and variation." Page 380, DirectX Audio Exposed: Interactive Audio Development, Todd Fay, Wordware Publishing, 2003, ISBN 1-55622-288-2
  7. ^ "Electronically produced music is part of the mainstream of popular culture. Musical concepts that were once considered radical - the use of environmental sounds, ambient music, turntable music, digital sampling, computer music, the electronic modification of acoustic sounds, and music made from fragments of speech-have now been subsumed by many kinds of popular music. Record store genres including new age, rap, hip-hop, electronica, techno, jazz, and popular song all rely heavily on production values and techniques that originated with classic electronic music." Page 1, Electronic and Experimental Music: Pioneers in Technology and Composition, Thomas B. Holmes, Routledge Music/Songbooks, 2002, ISBN 0-415-93643-8
  8. ^ "Electronica and punk have a definite similarity: They both totally prescribe to a DIY aesthetic. We both tried to work within the constructs of the traditional music business, but the system didn't get us - so we found a way to do it for ourselves, before it became affordable.", quote from artist BT, page 45, Wired: Musicians' Home Studios : Tools & Techniques of the Musical Mavericks, Megan Perry, Backbeat Books Music/Songbooks 2004, ISBN 0-87930-794-3
  9. ^ "Electronica lives and dies by its grooves, fat synthesizer patches, and fliter sweeps.". Page 376, DirectX Audio Exposed: Interactive Audio Development, Todd Fay, Wordware Publishing, 2003, ISBN 1-55622-288-2
  10. ^ a b "Billboard: Madonna Hung Out on the Radio". Billboard (VNU Media). July 2006. 
  11. ^ "Crystal Method...grew from an obscure club-culture duo to one of the most recognizable acts in electronica, ...", page 90, Wired: Musicians' Home Studios : Tools & Techniques of the Musical Mavericks, Megan Perry, Backbeat Books Music/Songbooks 2004, ISBN 0-87930-794-3
  12. ^ " For example, composers often render more than one version of their own compositions. This practice is not unique to the mod scene, of course, and occurs commonly in dance club music and related forms (such as ambient, jungle, etc.—all broadly designated 'electronica')." Page 48, Music and Technoculture, Rene T. A. Lysloff, Tandem Library Books, 2003, ISBN 0-613-91250-0
  13. ^ Pages 233 & 242, Popular Music in France from Chanson to Techno: Culture, Identity and Society , By Steve Cannon, Hugh Dauncey, Ashgate Publishing, Ltd. 2003, ISBN 0-7546-0849-2
  14. ^ "In 2000, [Brazilian vocalist Bebel] Gilberto capitalized on New York's growing fixation with cocktail lounge ambient music, an offshoot of the dance club scene that focused on drum and bass remixes with Brazilian sources. ...Collaborating with club music maestros like Suba and Thievery Corporation, Gilberto thrust herself into the leading edge of the emerging Brazilian electronica movement. On her immensely popular Tanto Tempo (2000)..." Page 234, The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond, Ed Morales, Da Capo Press, 2003, ISBN 0-306-81018-2
  15. ^ "founded in 1997,...under the slogan 'Musical Insurgency Across All Borders', for six years [Manhattan nightclub] Mutiny was an international hub of the south Asian electronica music scene. Bringing together artists from different parts of the south Asia diaspora, the club was host to a roster of British Asian musicians and DJs..." Page 165, Youth Media , Bill Osgerby, Routledge, 2004, ISBN 0-415-23807-2
  16. ^ Girl (Dannii Minogue album)
  17. ^ "Electronica reached new heights within the culture of rave and techno music in the 1990s." Page 185, Music and Technoculture, Rene T. A. Lysloff, Tandem Library Books, 2003, ISBN 0-613-91250-0
  18. ^ http://www.allmusic.com/artist/p1122695
  19. ^ http://www.musicemissions.com/artists/albums/index.php?album_id=9795
  20. ^ ""Stick Stickly" - Attack Attack! // Rock Band". Rock Band. 
  21. ^ Goodwin, Bobby (27 August 2010). "Abandon All Ships | Interviews - Substream Music Press". Substream Music Press. Retrieved 3 October 2010. 
  22. ^ I See Stars album review
  23. ^ The Changing Shape of the Culture Industry; or, How Did Electronica Music Get into Television Commercials?, Timothy D. Taylor, University of California, Los Angeles, Television & New Media, Vol. 8, No. 3, 235-258 (2007)
  24. ^ Ed. The Grammys.Hyundai Veloster, The Recording Academy, GreenLight Media & Marketing, Art Takes Over (ATO), & RSA Films, n.d. Web. 24 May 2013. <http://regenerationmusicproject.com/>.

Literature[edit]