rastafire

2y

EDM music had the ugliest and laziest music structures oat

s*** was just a mid melody during the buildup and a nonsense drop that seemed to be 100% out of place in comparisson with the rest of the music

Flaphead

2y

Legendary moment from back when this song was huge

Niggamortis

2y

D****.

It was because of d****.

Flaphead

2y

· edited

The whole big room house wave from like 09-14ish is what really aged like s*** imo, Garrix is a perfect example. It was basically just the lowest common denominator form of festival house music that also aligned with the electropop that was huge in the mainstream at the time.

So I'm a huge electronic fan and grew up with Tiesto and Bob Sinclar and s*** bc of living in Europe for a bit when I was younger. I remember moving back to America and getting stoked about David Guetta beginning to blow up, right as he exploded with Sexy B****. It was pretty much a wrap from there for the next few years. F***ing Usher was doing big room house and Foo Fighters did a performance with deadmau5. It also coincided with the rise of the modern festival, especially s*** like Ultra and EDC. Dubstep was also obviously a huge part of that time and folks like Skrillex helped shape the textures of the sounds being used even outside of his "niche" (which, when that s*** was being used by Britney Spears by 2011, is hardly a niche).

If you followed electronic music though, that s*** got tiresome FAST. The EDM trap wave was (believe it or not) so refreshing because it was so minimal compared to all of the bombast of the early 10s. Baauer, Alison Wonderland, etc. It was around that time that folks like Porter Robinson and Avicii (RIP), who could well have just continued doing what they were doing and raked in cash and festival spots, said f*** this and started making more left-of-center stuff like Worlds and True. And obviously Swedish House Mafia were a perfect epilogue to the whole chapter by releasing some incredible music right as the whole thing was starting to fizzle out. Can't forget my girl SOPHIE, either (RIP). I remember hearing Bipp and then the rest of Product and thinking "yep, this is the future." Just Like We Never Said Goodbye feels like having a memory of an EDM song several decades from now.

There was like a year of Tropical House with Kygo and the Cheerleader remix and s*** in 2015 that kind of tried to keep the wave going, but people were pretty obviously tired of it all by then. That was when future bass like Flume (and unfortunately the Chainsmokers) really took off by incorporating hip-hop tempos and drum patterns right as trap was starting to hit the mainstream. I remember Bad and Boujee as the turning point of when #1 hits started sounding like they did for the rest of the decade, but by that point early 10s EDM had already faded all the way out.

It's interesting to me how the big names from the time have fared, though. Almost all started experimenting and going down the Avicii/Porter path; I'll always vouch for deadmau5 (peep while1<2) and even the folks like Guetta and Steve Aoki ended up shifting to keep up some semblance of relevance amongst festival trap and trop house. Funny enough, though, we're kind of starting to come back full circle with tech house and deep house having a huge revival, the former of which is like big room EDM with more hip-hop inspired bass production and the latter of which is derived much more from the trance and eurodance stuff that I grew up hearing in Europe but never quite made it to America in the same way.

EDM feels like a hilarious memory, but it really did bring electronic to mainstream American music in an unprecedented way. We wouldn't have most of the sounds of today's pop without that era and how it evolved as it wound down imo. I'm much happier with where we are now, though. We're getting MUCH more interesting electronic music merging with pop in more faithful ways, like Pinkpantheress bringing UK garage and DnB to the tiktok scene or TSHA's style of deep house with some soul influence. Hell, Skrillex has a song with f***ing Four Tet from this past summer that has gone HARD at every show I've heard it rinsed at. Meanwhile techno is exploding again along with more niche strains like hardstyle and gabber (very much in line with the hyperpop scene which obviously has heavy EDM influences even if they're usually ironic) and this time, we're ALL getting to experience it thanks to how global music consumption now is.

I love where electronic music is going and TL;DR as s***ty as LMFAO was, it was all worth it.

MORENAA

2y

ur credentials r good

Flaphead

2y

· edited

The whole big room house wave from like 09-14ish is what really aged like s*** imo, Garrix is a perfect example. It was basically just the lowest common denominator form of festival house music that also aligned with the electropop that was huge in the mainstream at the time.

So I'm a huge electronic fan and grew up with Tiesto and Bob Sinclar and s*** bc of living in Europe for a bit when I was younger. I remember moving back to America and getting stoked about David Guetta beginning to blow up, right as he exploded with Sexy B****. It was pretty much a wrap from there for the next few years. F***ing Usher was doing big room house and Foo Fighters did a performance with deadmau5. It also coincided with the rise of the modern festival, especially s*** like Ultra and EDC. Dubstep was also obviously a huge part of that time and folks like Skrillex helped shape the textures of the sounds being used even outside of his "niche" (which, when that s*** was being used by Britney Spears by 2011, is hardly a niche).

If you followed electronic music though, that s*** got tiresome FAST. The EDM trap wave was (believe it or not) so refreshing because it was so minimal compared to all of the bombast of the early 10s. Baauer, Alison Wonderland, etc. It was around that time that folks like Porter Robinson and Avicii (RIP), who could well have just continued doing what they were doing and raked in cash and festival spots, said f*** this and started making more left-of-center stuff like Worlds and True. And obviously Swedish House Mafia were a perfect epilogue to the whole chapter by releasing some incredible music right as the whole thing was starting to fizzle out. Can't forget my girl SOPHIE, either (RIP). I remember hearing Bipp and then the rest of Product and thinking "yep, this is the future." Just Like We Never Said Goodbye feels like having a memory of an EDM song several decades from now.

There was like a year of Tropical House with Kygo and the Cheerleader remix and s*** in 2015 that kind of tried to keep the wave going, but people were pretty obviously tired of it all by then. That was when future bass like Flume (and unfortunately the Chainsmokers) really took off by incorporating hip-hop tempos and drum patterns right as trap was starting to hit the mainstream. I remember Bad and Boujee as the turning point of when #1 hits started sounding like they did for the rest of the decade, but by that point early 10s EDM had already faded all the way out.

It's interesting to me how the big names from the time have fared, though. Almost all started experimenting and going down the Avicii/Porter path; I'll always vouch for deadmau5 (peep while1<2) and even the folks like Guetta and Steve Aoki ended up shifting to keep up some semblance of relevance amongst festival trap and trop house. Funny enough, though, we're kind of starting to come back full circle with tech house and deep house having a huge revival, the former of which is like big room EDM with more hip-hop inspired bass production and the latter of which is derived much more from the trance and eurodance stuff that I grew up hearing in Europe but never quite made it to America in the same way.

EDM feels like a hilarious memory, but it really did bring electronic to mainstream American music in an unprecedented way. We wouldn't have most of the sounds of today's pop without that era and how it evolved as it wound down imo. I'm much happier with where we are now, though. We're getting MUCH more interesting electronic music merging with pop in more faithful ways, like Pinkpantheress bringing UK garage and DnB to the tiktok scene or TSHA's style of deep house with some soul influence. Hell, Skrillex has a song with f***ing Four Tet from this past summer that has gone HARD at every show I've heard it rinsed at. Meanwhile techno is exploding again along with more niche strains like hardstyle and gabber (very much in line with the hyperpop scene which obviously has heavy EDM influences even if they're usually ironic) and this time, we're ALL getting to experience it thanks to how global music consumption now is.

I love where electronic music is going and TL;DR as s***ty as LMFAO was, it was all worth it.