Electronica

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Posted by motoman 03/01/2009 @ 10:38

Tags : electronica, artists, music, entertainment

News headlines
The Crystal Method Evolves - Wall Street Journal
It also features singers and rappers from outside the world of electronica, among them Emily Haines of Metric; Peter Hook of Joy Division and New Order; Jason Lytle, formerly of Grandaddy; Matisyahu; Meiko; and Justin Warfield of She Wants Revenge....
New York trio head for the West Coast - NME.com
Resident DJs Dia, Jennifer Solid Todd and surprise guest DJs will spin a mix of rock, electronica, punk and hip-hop before and after the sets. Club NME Los Angeles takes place at Spaceland in the Silver Lake neighbourhood of Los Angeles every Wednesday...
A composer in the best of two worlds - Sacramento Bee
His synergy of electronica and classical music has been performed by the National Symphony Orchestra, as well as the New York and Los Angeles philharmonic orchestras. And now his latest work, "The B-Sides: Five Pieces for Orchestra & Electronica" will...
Classical Recordings Finding Places for Electronica, the Sacred ... - New York Times
By THE NEW YORK TIMES The latest on the arts, coverage of live events, critical reviews, multimedia extravaganzas and much more. Join the discussion. Music from China; Todd Reynolds String Quartet; Maya; other performers. Innova 724; CD....
Electronica Hittman Comes to 101 Distribution - PR Web (press release)
That describes the vibe of "Cosmic Trees," which serves as the single from his upcoming electronica-flavored debut album "The Musical Suspect" (iBeat Records). "It's like the beginning of the chase in a 007 movie. Really, that's it," the Hittman gushes...
Short Circuit: A Festival of Electronica - New York Times
By Gary Moskowitz Short Circuit The Roundhouse in Camden will host four days of experimental electronic music from May 14-17. LONDON | The Roundhouse in Camden will host four days of experimental electronic music from May 14-17, an all-encompassing...
YUJA WANG – Brilliant Young Pianist Joins SF Symphony, May 20th–23rd - SanFranciscoSentinel.com
Bay Area electronica and classical composer Mason Bates' The B-Sides is a play on pop music's way of referring to the more alternative (or less popular) songs on the B-side of a record. According to Bates, the five short orchestral snapshots that make...
Nightriders, This Love Is Real MP3 - Filter Magazine
Their love for french nu-disco, house and electronica seemlessly intertwine with each knob turn and pulsating bassline. Nightriders latest song, "This Love is Real", finds its inspiration from elements of house and undercurrents of the French...
Balanchine Sandwich, Electronica Filling - New York Times
Vivaldi meets electronica, classical phrases vie with sharply angled gestures, and dancers from two worlds confront one another. Mark Stanley's lighting is dark without being dramatic, Herve-Pierre's old-world costumes make the men look like Pilgrims,...
Ditto: Electronica and Film Event - The Quietus
Event organisers Ditto to broadcast a multimedia event live from Roundhouse for free online this Saturday. Some enterprising individual recently came up with the dubious idea of 'home clubbing' - which consists of beaming live broadcasts of far-flung...

Electronica

Electronica includes 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; however, unlike electronic dance music, it is not specifically made for dancing. The term was first used in the United States in the early 1990s with regards to post-rave global-influenced electronic dance music. Genres such as techno, drum and bass, downtempo, and ambient are among those encompassed by the umbrella term, entering the American mainstream from "alternative" or "underground" venues during the late 1990s. Prior to the adoption of electronica for this purpose, terms such as electronic listening music, and intelligent dance music (IDM) were used.

Allmusic categorizes electronica as a top-level genre on their main page, where they ICP is F state that electronica includes "dozens of stylistic fusions" ranging from danceable grooves to music for headphones and chillout areas.

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 became key to the mainstream pop and rock sounds of the 1980s. Since the adoption of "electronica" in the 1990s to describe more underground music with an electronic aesthetic, elements of modern electronica have been adopted by many popular artists in mainstream music.

Electronica was made possible by advancements in music technology, especially electronic musical instruments, synthesizers, music sequencers, drum machines, digital audio workstations. Early forms of electronic music required large amounts of complex equipment and multiple operators for live performances, and multiple engineers to record the music at high quality. 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. This led to a period of creative experimentation and the development of new forms, some of which became known as electronica.

In the mid-1990s, electronica began to be used by MTV and major record labels to describe mainstream electronic dance music made by such artists as Orbital (who had previously been described as ambient) and The Prodigy. It is currently used to describe a wide variety of musical acts and styles, linked by a penchant for overtly electronic production; a range which includes more popular acts such as Björk, Goldfrapp and Braindance artists such as Autechre, Aphex Twin, and Boards of Canada 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), Post and Homogenic (Björk). Electronica artists that would later become commercially successful began to record in this early 1990s period, before the term had come into common usage, including for example Fatboy Slim, Fœtus, Daft Punk, The Chemical Brothers, The Crystal Method, Moby, and Underworld. A focus on "songs", a fusion of styles and a combination of traditional and electronic instruments often sets apart musicians working in electronic-styles over more straight-ahead styles of house, techno and trance. 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. Wide ranges of influences, both sonic and compositional, are combined in electronica recordings.

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. Roni Size, Goldie and Omni Trio commanded attention in the UK as exemplars of the drum and bass genre.

It could be noted that older bands such as 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. These two groups are very commonly cited as being hugely influential to the first generations of underground and later, alternative electronica artists.

By the late 1990s, artists like Moby had become internationally famous, releasing albums and performing regularly in major venues. In the United States and other countries like Australia, electronica (and the other attendant dance music genres) remained popular, although largely underground, while in Europe it had become one of the most dominant forms of popular music.

In the late 1990s and early 2000s, Electronica's maturing sound embraced multi-cultural influences both through the increasing commercial availability of audio sample libraries of musical instruments from around the globe, as well as cross-pollination with DJs, performers and recording artists from many nations. 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.

The Norwegian dance duo Röyksopp reached unexpected stardom in 2001 when its debut album Melody AM became an international bestseller. By 2002 the style had a harder edge and in the UK tracks like “Loneliness” by Tomcraft hit number One and the following year an electro dance scene emerged in the UK. The release of albums like “New Wave Electro” on Orange Sync Records and Electrotech Ministry of Sound introduced this style to the clubs with post punk beats, mono Synth breaks which became the formula for the current electro dance scene in the UK.

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 Ray of Light, 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".

According to a 1997 Billboard article, "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.

The adoption of elements of electronica by several of the world's most popular rock bands was also seen beginning in the mid 1990s, for example U2's Zooropa (1993) and Pop (1997) albums, Radiohead's OK Computer (1997), R.E.M.'s Up (1998), The Smashing Pumpkins' Adore (1998), Blur's 13 (1999) and Oasis's Standing on the Shoulder of Giants (2000) albums. Several of these albums were produced with electronic dance producers, such as William Orbit who produced both Madonna's Ray of Light. and Blur's 13. Radiohead's 2000 follow-up to OK Computer, Kid A, 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, and the band cited their debts to a large number of electronic musicians, such as Autechre and Boards of Canada, in a recording which reached #1 on the US album charts. The word "electronica" was commonly applied to such releases despite large differences in style. Indeed, by the late 1990s, the word was mostly used by rock fans to describe rock and pop artists' adoption of electronic music textures (such as samples, synthesizers and drum machines) with which they were otherwise unfamiliar, as well as to label a few dance-oriented acts that achieved popularity. This was particularly true in the US where the electronic dance subculture was much less prominent.

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. Russian duet t.A.T.u. use electronica styles extensively, and fuse it with pop styles to form an edgy electronica style which is used by the North Wales based solo artist Virtuo and many pop artists.

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. However, the word continues to be more common in the U.S. music industry for synthesized, techno-inspired pop music, as specific genres such as drum and bass and IDM never achieved mainstream attention.

By the first decade of the 2000s, hip hop had become one of the most popular forms of music worldwide. 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 synth pop music, as well as from T-Pain, a hip-hop performer known for manipulating his voice by using the electronic program 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.

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 videogames -- specifically Wipeout (video game series): a sci-fi combat hovercraft racer for which the soundtrack was composed of many popular and highly-appropriate electronica tracks that helped create more interest in this type of music -- and later for other technological and business products such as computers and financial services.

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Ethnic electronica

Ethnic electronica (also known as ethno electronica or ethno techno) combines elements of electronic and world music and was developed in the 1990s. The term ethnic electronica appears in music zines, in online music-related forums and blogs, and also in a title of a 2003 compilation "Another Life: A Journey Into Ethnic Electronica" (Love Cat Music).

Notable acts of ethnic electronica include Bryn Jones with his project Muslimgauze (before his death in 1999), the artists of Asian underground movement (Asian Dub Foundation, State of Bengal, Transglobal Underground, Natacha Atlas), Shpongle, Zavoloka, Banco de Gaia, Zingaia, Afro-Celt Sound System, early work by Yat-Kha (with Ivan Sokolovsky). Among the commercial acts which work with this subgenre: Enigma, Deep Forest, Ivan Kupala.

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Jay Electronica

Jay Electronica (Je’Ri Allah) (b. circa 1977) is a rapper and producer known for his use of percussionless film soundtracks as a background for raps, his abstract lyrical style, and his associations with Erykah Badu, Just Blaze and Nas. He produced the first track, "Queens Get the Money", on the 2008 Nas album Untitled. The unconventional nature of much of his music, and the lack of conventional release methods for that music, have since 2007 made him the object of much attention. He is perhaps best known for the piece of music Act 1: Eternal Sunshine (The Pledge).

Signed to Badu's Control Freaq Records, Electronica is yet to release an album or single. His music so far has been made available through the internet, either through being leaked to what URB magazine describes as "obscure web forums", or through an appearing and disappearing myspace page (currently two seem to be in existence, at /jayelect and at /jayelectronica). Badu has questioned whether he ever will release, in her words, "actual albums".

Originally from the Magnolia Projects in New Orleans, Louisiana, U.S.A., he has lived in Atlanta, Baltimore, Philadelphia, Washington DC, Denver, and Detroit, where he recorded his Style Wars EP with several J Dilla beats, meeting the producer subsequently to ask for permission to use the recordings as a demo. Detroit is also the home of Mr. Porter, who has produced for Electronica, and is where Electronica met engineer Mike "Chav" Chavarria, now a regular collaborator.

Jay Electronica first gained significant attention through Act 1: Eternal Sunshine (The Pledge), made available on a myspace page in 2007. It is 15 continuous minutes of music, without drums, built from Jon Brion's soundtrack to the film Eternal Sunshine of the Spotless Mind. There are five segments or movements, marked by changes in music and mood, raps by Electronica, and occasional snippets of sampled dialogue (children arguing in Farsi, Gene Wilder as Willy Wonka). The first segment is spoken word by Just Blaze and Erykah Badu describing the artist over piano music.

The nature of the piece of music, along with the nature of its appearance, led to a slow build-up of interest in Electronica as an enigmatic figure. Style Wars gained wider circulation, and other tracks, such as the dream-inspired "Dimethyltryptamine", appeared. In January 2008, Giles Peterson's 90-minute Giles Peterson Worldwide was devoted to the rapper. Hiphopdx.com in 2008 called him "arguably...the most talked about new emcee last year ... at times...more like a myth or urban legend than an actual rapper", and URB ran a cover story on the artist under the banner "Jay Electronica: A Spotless Mind :: An MC’s mystery revealed", which referred to his wanderings as his being "like some sort of hip-hop Jack Kerouac".

Jeff Weiss' piece for the L.A. Weekly, "Jay Electronica: Much Better Than His Name Would Suggest", acknowledged that the rapper could be fairly described as "one of the most buzzed about rappers of 2008", but attempted to temper the hype somewhat, describing Act 1... as "ambitious, wildly original, if not slightly pretentious", while endorsing only to an extent the comparisons URB had made (referencing an "abstract rhyming style") to rappers like Nas and Pharoahe Monch.

Electronica met Nas during the recording of Nas' Untitled, through Badu's friendship with Nas' wife, Kelis. He gave Nas a CD of his recordings, causing Nas to invite him to produce for the album. Jay Electronica provides the music for the album's opening track, "Queens Get the Money". Nas describes him as having provided "the Jay Electronica sound". He toured North America with Nas, and was part of the Rock The Bells International Festival Series in 2008.

According to URB, Act II: Patents of Nobility will feature Nas, and will be the second of a putative trilogy. URB also reported that digital EPs with both Guilty Simpson and producer 9th Wonder were planned. His most recent music as of November 2008 is the Just Blaze-produced track "Exhibit A (Transformations)".

He and his long-time girlfriend Erykah Badu welcomed their first child together, a girl named Mars Merkaba, on February 1, 2009..

Much of the details of title, order and production in the list below necessarily come from the blog postings and internet forums where this music surfaced, and as such may not be accurate in every case.

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Sydney Electronica

Emmerging out of the Electroclash movement, Sydney Electronica defined itself as a new genre of Electronic music in late 2002 as an amalgamation of Acid House, Brit Pop and Electro sounds and scenes of California in the early 1980s.

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Source : Wikipedia