September 2024 – Get Up And Dance To The Music! Part II

Prelude

Hello there plentiful peaceful people. Welcome to autumn 2024, with the sultry summer sunsets fading behind us into hazy reminiscence once again. As the American band Earth, Wind & Fire celebrated in 1978, here we are in, ‘September’. “Hey, hey, hey! Ba‑dee‑ya, say do you remember?” Once it’s gone, it’s gone and all we have left is in the here and now. Make the most of now, I suggest. What we will be in the future is what we do now. As one sage dude put it much better than I can…

“The past is already gone, the future is not yet here. There’s only one moment for you to live, and that is the present moment” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

Furthermore, a message to all the immoral hegemonic oppressors intent on senseless conflict and unnecessary destruction out there, here is another titbit (NB. tidbit in the US – from 17th Century English ‘tyd bit’) of astute advice from the sagacious spiritual leader.

“Better than a thousand hollow words is one word that brings peace” – Buddha

This month’s article is a little different. Firstly, it is Part II of a longer piece and I didn’t want to leave a long break between the parts. Then, secondly (NB. ‘secondly’ usually comes after ‘firstly’, after all, so the numbering is essentially superfluous) because I want to make some time and space for something else (to be announced in due course). This means that Part II is being published in early September, rather than the usual distribution deadline at the end of the month.

As I mentioned at the conclusion of last month’s article, I felt it was better to split this genre article on dance and dance music into two articles which are easier to digest and, together, form a coherent whole. The first part covered a period from pre‑history to the 1950s. This article picks up directly where the last one left off, from the 1950s onward. To cap the article off, there is a casually speculative look into the future of dance and dance music.

If you want to reprise or access Part I of this article for the first time, you can read it here (opens in a new tab):

August 2024 – Get Up And Dance To The Music!: Part I

Rather than go for a protracted preamble, as is my usual wont, pointlessly reiterating material from Part I, let’s get straight down to business. Time to get your Funk on!

Night Clubbing (courtesy Leif Bergerson)

Modern Dance and Dance Music

By this heading, I mean the underground, mainstream and popular dance music scene in whatever form, from the birth of Rock & Roll to the current day. These seven decades represent the main section of the article.

The rest of this article will concentrate on sixteen modern dance music ‘genres’ in an attempt to encompass the majority of popular styles. The approach I’ve taken is unorthodox and arbitrary but some structure is needed. Each genre could probably deserve an article in itself, so substantial omissions have been necessary to condense the remaining material into Part II. Where subjective generalities and assumptions have been made, they inevitably lead to some factual errors/inaccuracies, as well as omissions. Sorry ‘bout that. So… without further ado, let’s jump in with two left feet and Rock & Roll…

“We should consider every day lost on which we have not danced at least once” – Friedrich Nietzsche (1844‑1900)


Rock & Roll (1954‑1964 – Peak 1958):

Rock & Roll is popular dance music originating in the 1950s, recognisable with its heavy beat and simple melodies. Song structures were usually based around the established twelve‑bar blues format and usually played on guitar, double bass, and drums (and occasionally piano) to produce catchy danceable tunes.

Rock & Roll emerged from a fusion of Jazz, Blues and Country influences in the mid‑1950s. Black Rhythm & Blues (R&B) and white Country music were cited as key components, including a splash of Gospel and Folk for good measure. It is perhaps surprising that the watershed of modern popular music that rock & roll represented arrived so late into the 20th Century.

Rock & Roll saw the emergence of the previously ‘invisible’ teen culture, which included fashion, music, language and attitudes. The cultural influences of early Rock & Roll songs dealt with youth‑related issues such as cars, school, dating, hairstyles and clothes. For the first time, teens were demanding to be listened to and to be taken seriously, rather than condemned as juvenile delinquents by typically conservative moral guardians.

While the origins of Rock & Roll date back to earlier decades, as far back as the 1920s, and the term ‘rock and roll’ had been used before, it is widely thought that American radio DJ Alan Freed promoted the popularity of African/American R&B music, calling it ‘rock and roll’. This time the name stuck.

Two key songs triggered the Rock & Roll era, ‘That’s All Right’ by Elvis Presley and ‘Rock Around The Clock’ by Bill Haley & His Comets, both recorded in 1954, the latter used in the film, ‘Blackboard Jungle (1955). The rest, as ‘they’ say, is history.

Several other American films portrayed the Rock & Roll zeitgeist including, ‘Concrete Jungle’ and Rock Around the Clock (1956). In addition, the film, ‘American Graffiti’ (1973) encapsulated the coming‑of‑age scene, set in 1962. Other films set about demonstrating the insubordinate side of youth culture during the 1950s including, ‘The Wild One’ (1951) and ‘Rebel Without a Cause’ (1955). All reflecting and, in turn, contributing to societal change.

On 3 February 1959, Buddy Holly, Ritchie Valens and The Big Bopper were killed in a plane crash near Clear Lake, Iowa. The tragic event was nicknamed ‘The Day the Music Died’. After that seismic shock, Rock & Roll declined and other genres emerged such as Surf, Soul, Pop, Folk Revival, Garage Rock and Psychedelic Rock.

Dance styles inherited by Rock & Roll included east coast swing, west coast swing, the jive and the jitterbug. ‘New’ dances that came with Rock & Roll included the twist and the hand jive.

Rockabilly was a sub‑genre used to describe predominantly white singers adopting black vocal styles with lighter, often acoustic instrumentation including Jerry Lee Lewis, Carl Perkins, Bill Haley, Elvis Presley and Buddy Holly.

Related genres: Jazz, Blues, Country, Folk, Gospel, Rhythm & Blues, Pop, Doo Wop, Surf, Skiffle, Rockabilly, Soul, Folk Revival, Garage Rock, Psychedelic Rock

Artist examples: Bill Haley and His Comets, Elvis Presley, Chubby Checker, Carl Perkins, Jerry Lee Lewis, Little Richard, Chuck Berry, Fats Domino, Duane Eddy, Eddie Cochran, Ricky Nelson. Gene Vincent & His Bluecaps, Jackie Wilson, Pat Boone, Big Bopper, The Everly Brothers, Dion, Bobby Vee, Richie Valens, Del Shannon, The Platters, Lonnie Donegan, Buddy Holly, Cliff Richard, Connie Francis, The Coasters, Marty Wilde, Neil Sedaka, Billy Fury, Bert Weedon, Bobby Darin, Roy Orbison, The Ventures, Brian Hyland, Sam Cooke, The Shadows, The Drifters, Booker T & The MG’s, Gene Pitney, The Swinging Blue Jeans, the Chiffons, The Beach Boys, Tommy Steele


Soul (1960‑1982 – Peak 1968)

Soul is a music genre that originated in the African/American communities across the USA in the late 1950s and early 1960s. Its earliest roots lie in traditions associated with enslaved people working in the cotton fields. Soul’s formative influences lay in Gospel, Jazz and Rhythm & Blues and became popular as a form of lively dance music. Soul made good use of prominent horn and rhythm sections, accompanied by powerfully emotional vocal delivery. During the Civil Rights Movement era, predominantly black Soul artists were sought after and promoted by famous record labels such as Motown (Detroit), Stax (Memphis) and Atlantic (New York). Segregation issues firmly connected music with radical societal change. Soul therefore reflects and promotes the importance of African/American culture in the US at the time. Many Soul songs were about love and relationships while others focused on political black consciousness.

The Stax record label (‘Soulsville USA’) led the way in promoting multi‑racial music at a time of tension, protest and segregation. The Motown record label came to define the sub‑genre of Pop Soul. Soul dominated the US R&B singles chart in the 1960s, with many singles crossing over into American and British Pop charts. Song writers and producers such as Holland‑Dozier‑Holland made the ‘three minute’ Pop song such a positive and commercially successful phenomenon. Atlantic Records promoted and popularised Soul, signing up legendary artists like Aretha Franklin and Ray Charles.

As Soul began to decline by the end of the 1960s, it was superseded by Psychedelic Soul and Progressive Soul, then by Funk and, later on, by Disco. Soul, though, didn’t disappear, it diversified into regional variants of Soul that adapted to local geographical tastes, including Memphis Soul, New Orleans Soul, Chicago Soul and Philadelphia Soul, the latter becoming known as the ‘Philly Sound’.

A key performance platform for Soul artists was the American TV programme, ‘Soul Train’, which promoted many popular African/American Soul, Funk and Disco dance music acts. Soul Train aired for 35 years from 1971 to 2006 with an impressive total of 903 episodes. In 1985, there was a short‑lived UK version, also called Soul Train. Producers, artists and audiences alike made dancing an important part of the programme.

Dance styles associated with 1960s Soul include the Harlem shuffle, the boogaloo (NB. the dance, not the extremist political movement) and the perennial west coast swing.

During the 1970s, slick production and commercially‑oriented Pop saw so‑called Blue‑Eyed Soul (i.e. white) artists come to the fore in both the US and the UK. Another popular and enduring working class Soul trend from the UK is Northern Soul, along with the dance that went with it, stomping.

Contemporary R&B tended to take on the mantle of many Soul artists in the 1980s and thereafter. Soul saw another major rejuvenation in the 1990s with a sub‑genre called Neo‑Soul, which fused retro traditional Soul and Contemporary R&B with Hip‑Hop, making use of modern digital studio production techniques.

Related genres: Gospel, Motown, Rhythm & Blues, Jazz, Big Band, Contemporary R&B, Neo‑Soul, Hip‑Hop, Pop, Psychedelic Soul, Progressive Soul, Funk, Disco, Deep Soul, Southern Soul, Blue‑Eyed Soul, Pop Soul, Samba Soul, Memphis Soul, New Orleans Soul, Chicago Soul, Philadelphia Soul

Artist examples: Sly & the Family Stone, James Brown, Aretha Franklin, Ike & Tina Turner, Whitney Houston, Joe Tex, Three Degrees, The Jacksons, Otis Redding, Michael Jackson, Barry White, Stevie Wonder, Marvin Gaye, Gladys Knight, Ray Charles, Diana Ross & The Supremes, Al Green, Hot Chocolate, Quincy Jones, Teddy Pendergrass, Isaac Hayes, Same & Dave, Lou Rawls, Gil Scott‑Heron, Smokey Robinson, Luther Vandross, Edwin Starr, Amii Stewart, Jimmy Ruffin, Lou Rawls, Curtis Mayfield, Labelle, The O’Jays, Martha Reeves & the Vandellas, Four Tops, The Temptations, Billy Preston, The Chi‑Lites, Sade, Thelma Houston, Ben E. King, Wilson Pickett, Ann Peebles, War, Hall & Oates


Funk (1968‑1988 – Peak 1976)

Funk is a dance music genre that originated in African/American communities in the mid‑late 1960s. Funk developed from Soul as well as Black R&B and Jazz influences. Musically, Funk refers to a style of aggressive urban dance music that rose to popularity, coinciding with the splintering of Soul.

The main focus of Funk musicians was to create a rhythmic, danceable musical style. The traditional elements of song writing, lyrical melody and standard chord progressions were replaced by a strong rhythmic groove provided by bass and percussion, giving tracks a hypnotic, danceable ‘feel’. Funk embraced many jazz traditions including the use of extended guitar chords, brass sections and intricate, syncopated drum patterns.

Funk, especially when performed live, makes extensive use of collective improvisation by jamming and ‘getting down with the groove’ based on strong basslines and groovy ‘chicken scratch’ guitar riffs. Funk created an insistent, locked‑in hook, on which dance moves were easily co‑ordinated. Rhythm was king. Percussion, often influenced by Afro‑Cuban styles plays a big part in creating and embellishing the groove, with an emphasis on the first beat of the bar (‘The One’), developed by James Brown (the ‘Godfather of Soul’) with his band The Famous Flames.

While Sly Stone introduced a psychedelic element to Funk, George Clinton and his bands Parliament and Funkadelic defined a whole sub‑genre called P‑Funk, which relied on psychedelic and whimsical elements with elaborate stage shows featuring extravagant otherworldly themes.

In the 1980s, Funk diversified and, like other forms of dance music, was heavily influenced by the use of analogue synthesizers, resulting in a sub‑genre known as Synth Funk. In the 1980s, the sexually expressive aspects of Funk were popularised by the likes of Rick James and Prince, attracting some notoriety. Funk heavily influenced Hip‑Hop, which often sampled Funk songs of the 1970s.

Dances associated with Funk include the robot, the funky chicken, tutting, popping & locking, the camel walk, the mashed potato and the good foot.

Pioneering instrumental records rooted in New Orleans R&B helped define the Deep Funk sub‑genre. Ghetto Funk is a modern take on the original Funk era of the late 1970s and early 1980s. Ghetto Funk fuses the rhythms of classic Funk with modern electronic beats and digital studio production. Like its ancestor, Ghetto Funk is about getting down and groovy, featuring funky basslines, soulful samples and an up‑beat, up‑tempo vibe. Ghetto funk artists combine retro funk samples with modern electronic beats, creating something that is both nostalgic while being fresh and contemporary. Funk remains a popular dance genre today.

Related genres: Soul, Psychedelic Soul, Afro Funk, Jazz Funk, P‑Funk, Synth Funk, Disco, Pop, Dance Pop, Rock, Metal, Acid Jazz, Ghetto Funk, Nu Funk, Funk Rock, Funktronica, Avant‑Funk, Funk Metal, Hip‑Hop, G‑Funk, New Orleans R&B, Deep Funk

Artist examples: Funkadelic, Parliament, George Clinton, Bootsy Collins, Rick James, Prince, Average White Band, Brand New Heavies, The Brothers Johnson, Cameo, Commodores, Curtis Mayfield, Miles Davis, Fat Larry’s Band, The Gap Band, Isaac Hayes, The Isley Brothers, The Meters, Tina Turner, Tower of Power, Mtume, Shakatak, Vulfpeck, War, Jamiroquai, Grace Jones, S.O.S. Band, Aaron Neville, Roy Ayres, Herbie Hancock, Fatback Band, Kool & The Gang, Earth Wind & Fire, Bruno Mars, Ohio Players


Disco (1975‑1989 – Peak 1979)

Disco is a dance music genre that emerged in inner‑city America in the late 1960s and the thriving, vibrant urban nightlife scene of New York City, particularly the borough of Brooklyn. Simultaneously, Disco was also flourished in Philadelphia. Disco’s sound is simpler than Funk, typified by four‑on‑the‑floor 4/4 time signatures providing a strong beat, syncopated basslines, lush string and horn sections, analogue synthesizers, and staccato rhythm guitars.

Disco is an abbreviation of Discothèque (NB. a French word meaning, ‘library of phonograph records’), which were the nightclub venues playing this new form of dance music. One such nightclub on Broadway in midtown Manhattan, NYC became (in)famous for its celebrity Disco scene, Studio 54, which opened in 1977 in a former theatre and opera house dating back to 1927.

Discothèques weren’t a new thing by the 1970s. The first discothèques mostly played swing music in the 1940s. In 1953 the ‘Whisky à Go‑Go’ in Paris, France incorporated a dance floor with coloured lights and two turntables so records could be played continuously without having a gap in the music. It wouldn’t be until the early 1970s that the modern Disco scene emerged from the underground to widespread mainstream success between 1974 and 1977.

Disco nightclubs used powerful, bass‑heavy, sound systems, which became a key component in the Disco club experience, as were disc jockeys (DJs) that seamlessly mixed the music for eager audiences. Fashion included sequined dresses for girls and bell‑bottom flares for boys. The iconic and ubiquitous mirror ball (or ‘disco ball’) is forever entwined with the Disco scene, usually mounted on the ceilings of Disco venues. NB. Mirror balls were not a new thing to 1970s’ discos; they were patented in 1917 and were widely used in nightclubs during the 1920s.

Disco (courtesy Edoardo Tommasini)

The Disco subculture of the 1970s experienced a significant drug problem, particularly ‘party’ drugs like cocaine (blow) amyl nitrite (poppers), amphetamines (speed) and Quaaludes (a hypnotic sedative known as ‘disco biscuits’).

Disco was seen as a reaction to, and a rejection of, west coast hippie counterculture and the prominence of blue collar American Rock music. It was also seen by some as a symbol of liberal permissive gay culture and a hotbed of recreational substance misuse.

The film, ‘Saturday Night Fever’ (1977) cemented Disco music, fashion and subculture into the public consciousness. This classic was supplemented by other major films, including ‘Car Wash’ (1976), ‘Xanadu’ (1980), ‘Can’t Stop the Music’ (1980) and ‘Flashdance’ (1983).

One of the key innovations of Disco was the pioneering use of the Disco remix and the 12″ single. These enabled DJs to experiment and create new tracks (or versions thereof) for nightclub use. Another innovation was the ‘white label’ record, which were records produced in very small numbers to test crowd response in dance clubs. The plain white label was used so that DJs would have no pre‑conceived ideas about the music or the artist name. White label recordings have since become highly popular with House and Hip‑Hop DJs. In the early 1990s, Techno and House artists created tracks pressed on 12″ white labels, which proved easy to sell at dance music record stores. Further innovations included the use of electronic drum machines and sequenced synthesizers.

Several dance styles became strongly associated with Disco, including the bump, the hustle, the Watergate, the disco dance, the YMCA, the snap and the bus stop. Disco also adopted the funky chicken from Soul.

Disco may have many similarities with Funk by focusing on the rhythm and beat to provide a strong basis for danceable music. However, when looking beneath the surface, they are very different animals. Funk relies on syncopation, improvisation and intricate rhythms. Disco is more straightforward but with the same aim – to get people onto the dance floor. Maybe Disco might not have emerged without Funk to provide the groovy foundation for dance music.

Euro Disco is a sub‑genre that emerged on the European continent following ABBA’s success at the Eurovision Song Contest in 1974. This fostered other sub‑genres such as Euro Pop and Eurodance.

One very strange and unique offspring of disco music was the roller disco, with ‘dancers’ wearing roller skates (quad or inline) and appropriate fashion styles, circulating a dance floor or ice skating rink to popular disco music. The peak of the short-lived roller disco craze was in the late 1970s. While the fad faded dramatically during the 1980s, roller disco perpetuates with occasional revivals and still has a small but fanatical following.

Disco declined as a major trend in popular music in the US following the infamous Disco Demolition Night held on 12 July 1979. Disco Demolition Night was a Major League Baseball (MLB) event held at Comiskey Park in Chicago, Illinois. At the climax of the event, sandwiched between a double‑header of matches between the Chicago White Sox and the Detroit Tigers MLB teams, a crate filled with disco records was blown up on the field. The event attended by around 50,000 people ended in a pitch invasion and a riot. Disco Demolition Night was a backlash from rock music fans and anti‑gay culture factions, led by Chicago ‘shock jock’ and anti‑disco campaigner Steve Dahl. The explosive highlight was accompanied by macho bigoted chants of ‘Disco Sucks’ and ‘Death to Disco’. In the aftermath of Disco Demolition Night, the popularity of Disco declined significantly in late 1979 and 1980, with record labels, stores and DJs preferring to use the generic label ‘dance music’. Disco’s demise and legacy led directly to the evolution of new forms of nightclub dance music such as House and Techno.

In an attempt to ditch Disco’s camp, cheesy image and to revive and rejuvenate its fortunes, Nu‑Disco emerged in the UK during the 1990s. Nu‑Disco is a modern take on 1970s and 1980s Disco, characterised by funky basslines, groovy rhythms, and slick digital studio production. Like its predecessor, Nu‑Disco is a genre that is intended to get people back on the dancefloor and bopping to a new generation of beats. During the 2020s, a modernised Disco sound has given a new generation of dance artists and fans a contemporary update on a classic dance genre, firmly rooted in modern club culture.

Disco still has a massive following and has seen several revivals over time during the 1990s, 2000s, 2010s and 2020s. It has also heavily influenced many dance music genres since the 1970s. It seems that Disco doesn’t suck and certainly isn’t dead.

Related genres: Soul, Funk, Pop Soul, Euro Disco, Eurodance, Post‑Disco, Nu‑Disco, House, Deep House, Techno, Post‑Punk, Rave, EDM, Boogie, Italo‑Disco, Hi‑NRG

Artist examples: The Bee Gees, Chic, The Jackson 5, The Trammps, Tavares, Heatwave, Imagination, Earth Wind & Fire, Kool & The Gang, Donna Summer, Gloria Gaynor, The Village People, Boney M, KC & The Sunshine Band, The Real Thing, Teena Marie, Tina Charles, Shalamar, Carl Douglas, Leif Garrett, Evelyn ‘Champagne’ King, Love Unlimited, Odyssey, Ottawan, The Real Thing, Rose Royce, Sister Sledge, Sylvester, Chaka Kahn, The Gap Band, Patrice Rushen, Indeep, Yvonne Elliman, Candi Staton, Lipps Inc, Anita Ward, Billy Ocean, George McRae, The Hues Corporation, Giorgio Moroder, Jesse Ware, Dua Lipa, Alcazar, George McCrae, Baccara, Frantique, The Crusaders


Pop (1959‑1991 – Peak 1967)

Pop in its widest sense is a broad umbrella term for anything and everything in popular music. Not all popular music is Pop. Pop, though, is popular music. Go figure. However, defining Pop as a genre is not straightforward. Even sources suggest that its meaning is different depending on time and place, although there is consensus that Pop as a commodity appeals to the broadest audience base. Pop had been around since the advent of radio and TV, covering many morphing genres and styles in the process. Pop was reinvented in the 1960s off the success of Rock & Roll and Soul. Some (erroneously) suggest that Pop and Rock from the 1960s as interchangeable.

Pop focuses on catchiness, melody, rhythm, lyrics, and hooks and is regarded as readily available and largely ephemeral (i.e. disposable). Many Pop records were good for dancing and many dance records were good for Pop. Win‑Win. Make no bones about it, Pop was and still is Big Business. Capitalist commercial interests drive Pop music, enabling mass production, marketing, distribution and accessibility. Measures of success were market sales and chart position. Key Pop song writers and producers in the UK included Stock Aitken & Waterman (SAW, a.k.a. The Hit Factory).

Standardised commercial Pop songs tended to be short, around the three‑minute mark, based around the traditional intro-verse-chorus-verse-chorus-break-chorus-outro structure. Numerous Pop songs were written by professional writers and played by studio session musicians, rather than the artists that fronted them. Manufactured boy bands and girl groups were typical creations of the Pop industry.

As Rock emerged from the mid‑1960s, Pop didn’t go away, being ever present on radio and TV, featuring playlists that cycled hit singles to sustain popular (and commercial) interest. By the late 1970s, the origin of Disco would push the boundaries of Pop and took dance music in a different direction. It wasn’t until the 1980s that Pop would come to the forefront of dance music again.

One of the key milestone sub‑genres of electronic dance music was Electro. Electro makes much use of drum machines such as the Roland TR‑808 and analogue synthesizers. Electro was, perhaps the most influential genre development in Pop music in the 1980s. Following the implosion of Punk c.1980 and the growth of New Wave, New Romantic and Post‑Punk music, Synth Pop rapidly became dominant, eagerly announcing ‘death of guitar music’. Electro made full use of music technology and music videos took the MTV crowd by storm.

Another key sub‑genre of Pop is Synth Pop. It was a style of Pop that emerged in the 1980s, features catchy melodies, electronic instrumentation, and a strong Pop sensibility. Synth Pop combines the warmth of analogue synthesizers with infectious, memorable hooks. Synth‑Pop artists mix electronic beats with melodic lyrics, creating tracks that are both danceable, listenable and unforgettable.

Synth Pop would be reinvented for the 21st Century with the retro‑inspired Synthwave sub‑genre that pays nostalgic homage to the retro music of the 1980s. It is characterised by analogue synths, ‘ear worm’ melodies and a forward looking yet vintage vibe.

Popular music dances include the Macarena (thanks Los Del Rio!), The hokey pokey (hokey cokey in the UK – thanks Larry LaPrise!), the cha‑cha slide, the locomotion, the tootsee roll, the time warp (from ‘The Rocky Horror Picture Show’ film) and the peppermint twist.

Related genres: New Wave, New Romantic, Post‑Punk, Dance Pop, Europop, Eurodance, Synth Pop, Synthwave, J‑Pop, K‑Pop, Krautrock, Future Bass, Electro, Teen Pop

Artist examples: The Beatles, Abba, Pet Shop Boys, Kylie Minogue, Bananarama, Beats International, Mel & Kim, Daft Punk, Deee‑Lite, Jennifer Lopez, Lady Gaga, The Pussycat Dolls, Michael Jackson, Janet Jackson, Grace Jones, Madonna, Christina Aguilera, Rihanna, Beyoncé, Gloria Estefan, Billy Ocean, Hot Chocolate, Heaven 17, Thompson Twins, Erasure, Eurythmics, Boney M, 2 Unlimited, Ace of Base, Robyn, Black Box, Aqua, Roxette, Technotronic, Whigfield, Vengaboys, Dead or Alive, Paul Hardcastle, Scissor Sisters, Basshunter, Shakira, The S.O.S. Band, Billie Eilish, Charli XCX, Bomb the Bass, N‑Sync, Backstreet Boys, Destiny’s Child, Spice Girls, Boyz II Men, Jessie Ware, Dua Lipa, Drake, Ariana Grande, Olivia Rodrigo, BTS, Pitbull, early Depeche Mode, Kraftwerk, Gary Numan, Boyzone, Take That, Taylor Swift, Adele, Ed Sheeran, Katy Perry, Miley Cyrus, Justin Bieber, Lorde, Prince, Pink


Club Music (1975‑today – Peaks, 1995 & 2024)

Club Music, perhaps, represents the quintessential modern dance music and deservedly so. It is the place where innovation in dance music has been most prominent and prolific in recent times. The cultural significance of ‘clubbing’ is truly massive. The vibrant cornerstone of dance music culture has been massively popular for decades now. While Club Music as an ‘umbrella’ term that covers much of the same ground as EDM (see below), there is a great deal of convergence and overlap, such that the boundaries are blurred almost to non‑existence at times.

Nightclub (courtesy Yiming Tang)

While it might seem strange that major dance music genres like House, Techno and Trance don’t feature as headings in their own right, they have been grouped together here because these genres drove the nightclub scene for several decades. Can you imagine a great underground or glitzy nightclub without these three genres being a crucial element of the music? Can you imagine what it would be like to have these three genres being successful without the existence of groovy nightclubs? The answer (at least to the author, who spent a great deal of time seeking out cool nightclubs in the UK and Ibiza from the 1980s to the 2000s) is that there is a vital co‑dependency between nightclubs and club dance music.

Some specific dance styles arose in the nightclub scene, including the Vogue, which also hit TV screens via MTV playlists. While there are some dances associated with genres from this point on, a great deal of modern social dance from the 1980s onwards may best be described as ‘freestyle’ or ‘freeform’, i.e. doing whatever one feels like to the music being played in the moment. No rules, no boundaries, no limits, just get down on the dancefloor and move to the groove.

House music is a highly influential dance music genre deeply rooted in Chicago during the early 1980s. House evolved from Disco and is based on electronic beats with infectious rhythms, strong basslines and soulful melodies, set to an insistent ‘four‑on‑the‑floor’ 4/4 time signature and a beat of around 115‑135BPM with a common standard of 128BPM.

Born from underground clubs, the name is thought to come from ‘The Warehouse’ nightclub in Chicago where DJ Frankie Knuckles (‘The Godfather of House’) performed DJ sets. House incorporates elements from Pop, Disco, Funk, and Soul and hit the mainstream around 1986.

While many dance moves were inherited from Disco, notable dances associated with House music include jacking, footwork, house stepping and lofting.

Key sub‑genres of House include Deep House and Progressive House, both intended to take the listener on a musical journey. Deep House is a key sub‑genre of House characterised by its chilled, soulful vibes, often featuring warm basslines, jazzy chords and soothing vocals that encourage listeners to groove and relax. Progressive House is known for its melodic and gradual build‑ups and euphoric drops.

Tech House is a logical amalgam of, erm… Techno and House from the late 1980s onwards. Tech House bridges the gap between the active dancefloor and passive listening. Other notable fusion sub‑genres of House include Ambient House and Electro‑House

In the late 1980s, House heavily influenced the formation of Balearic Beat that became SO popular in Ibiza Island dance clubs, super clubs, lounge bars and the underground Rave scene in the UK.

Bass House influenced the emergence of Dubstep and inspired the wave of Electropop artists in the 2000s, as well as many other forms of EDM in the 2010s and 2020s.

Techno is a genre of electronic dance music that emerged in Detroit in the late 1980s influenced by rising interest in House and Electro. Techno is characterised by repetitive (some say relentless) beats and hypnotic futuristic vibes that range from deep and atmospheric, through challengingly complex to fast and pounding. Typical Techno tempos are c.120‑160BPM. Unlike House, Techno has a more mechanical and ‘cold’ sound, embracing synthetic sound design and a robotic rhythmic style. Techno is an experience, designed to make you lose yourself on the dance floor. Techno soon spread from the USA to the nightclubs of the UK and Europe.

Dances associated with Techno have an international feel including, hakken, jumpstyle, Melbourne shuffle, vogue and tektonik.

A sub‑genre of Techno is Minimal Techno, known for its stripped‑down, repetitive rhythms and emphasis on mood changes. Minimal Techno is all about, erm… minimalism and creating an enthralling dancefloor atmosphere through simplicity and groove.

When it comes to post‑club parties, Ambient Techno was the ideal comedown, fusing the hypnotic quality of Techno and the more soothing Ambient music. At the other end of the spectrum, up‑beat Techno went on to influence Rave and Future Rave.

Trance music developed in Berlin, Germany in the early 1990s and became particularly popular in the UK, Belgium and the Netherlands. Trance is known for its uplifting melodies, ethereal breakdowns and energetic beats. Trance – as the name suggests – is intended to transport listeners to euphoric, hypnotic and transcendent states, making Trance a favourite at festivals and underground raves before hitting the mainstream. Trance endured into the 2000s with the proliferation of sub‑genres, thereby diluting the original. During the 2010s, Trance declined significantly with the dominance of EDM.

Trance made heavy use of the Roland TR‑909 drum machine (introduced in 1983 as a successor to the TR‑808) and analogue synthesizers. Tempo was relatively fast, around 130‑160BPM. Trance was heavily influenced by House and Techno before it became ‘a thing’ on its own.

The genre (Trance) and the venue (raves) are often linked to the widespread use of the drug MDMA, better known as ecstasy (tablet) or molly (crystals), a psychoactive empathogen which reinforces the hypnotic effect of Trance music and creates a (false) state of rapture and emotional social communion. Psychedelic forms of Trance became hugely popular in dance club destinations such as Ibiza (Ibiza Trance) and Goa in India (Goa Trance).

Dance moves associated with Trance include the trance stomp, the galactic glide, the melodic spiral and the echoing echoes. All sound suitably psychedelic.

Trance varied in sub‑genre, with Dream Trance, Uplifting Trance and Euro Trance, while more extreme sub‑genres of Trance include Tech Trance and Hardstyle.

Another staple of Club Music is Garage, a sub‑genre that originated in Britain in the form of UK Garage, influenced by Contemporary R&B and Hip‑Hop. Garage is characterised by its 2‑step beats, soulful vocals, and smooth, danceable rhythms and Garage House became popular in clubs. In turn, Future Garage and UK Bass took the form into the 2000s. UK Garage also became influential in the development of Dubstep and Grime.

The Juke (a.k.a. Chicago Juke or Footwork) sub‑genre arose in Chicago in the late 1990s is associated with dance battles and showcases dancers’ impressive footwork (duh!) skills. The tempo of Juke is fast, at c.160BPM.

Club DJ (courtesy Gaby Tenda)

At the height of the dance boom, music was heavily promoted by club and radio DJs who made themselves household names, including (amongst SO many others) Pete Tong, Calvin Harris, Carl Cox, Danny Rampling, David Guetta, David Morales, John Digweed, Eric Prydz, Erick Morillo, Fatboy Slim, Ferry Corsten, Frankie Knuckles, Judge Jules, Paul Oakenfold, Paul van Dyk, Roger Sanchez, Richie Hawtin, Sasha, Sven Väth, Tiësto, Tony De Vit and Robert Miles. Without the turntable skills of experienced club DJs, dance music would not have had the success it has had over several decades. Several top DJs also dipped their toes in music writing and recording.

The popularity of club music decreased significantly from the mid‑2000s with a lack of innovation and a malaise of interest from audiences. This sense of ennui led to the rise of EDM as a saviour of club dance music from the 2010s onwards.

Related genres: Pop, Disco, Funk, Electro Disco, Electro, Electroclash, Electro Swing, Electro Pop, House, Techno, Trance, EDM, Rave, Deep House, Ambient House, Electro‑House, Balearic Beat, Acid House, Euro House, Micro House, Hardstyle, Progressive House, Progressive Electronic, Industrial Techno, Bleep Techno, Acid Techno, Ambient Techno, Dub Techno, Progressive Trance, Tropical House, Ghetto House, Footwork, Juke, Tech House, Bass House, Hard House, Slap House, Minimal Techno, Ibiza Trance, Goa Trance, Dream Trance, Uplifting Trance, Euro Trance, Tech Trance, Garage, Contemporary R&B, Hip‑Hop, Grime, Dubstep

Artist examples: Soul II Soul, Frankie Knuckles, Madonna, Faithless, Inner City, Robin S, Bob Sinclar, Sasha, Jeff Mills, Goldfrapp, Sunscreem, C+C Music Factory/Clivilles & Cole, Tiësto, Reel To Real, Sash!, Carl Cox, Paul Oakenfold, Todd Terry, UNKLE, Felix Da Housecat, X‑Press 2, Eric Prydz, Deep Dish, Basement Jaxx, Roger Sanchez, Artful Dodger, Gorgon City, Deadmau5, Camelphat, David Guetta, Calvin Harris, M People, K‑klass, Moby, Ian Van Dahl, David Morales, Ultra Nate, Kosheen, Fatboy Slim, Snap!, Apollo 440, Coldcut, Audio Bullys, Bodyrockers, Seb Fontaine, Technotronic,  Katy B, Jeff Mills, Charlotte de Witt, Craig David, Artful Dodger, MJ Cole, Underworld, Louie Vega


Dancehall (1979‑1999 & 2010‑2020 – Peaks 1983 & 2013)

Dancehall is Jamaican music that evolved from Reggae and Deejay in the late 1970s and early 1980s. While Reggae‑derived dance music may seem out of place here, don’t rule out the influential Jamaican vibe so summarily.

Dancehall was stripped down Reggae with a focus on Deejay (rapped) vocals over pre‑recorded electronic rhythm tracks, rather than live backing musicians. Another difference from the political and Rastafarian themes of Roots Reggae is that Dancehall used sexually explicit lyrics (‘slackness’), misogyny and violent themes attracting negative criticism and notoriety. Dancehall has a wide variety of tempos; most sitting around 80‑120BPM with a DJ standard around 102BPM.

Dancehall changed radically in the mid‑1980s when producers increasingly employed new digital studio techniques, a sub‑genre known as Digital Dancehall emerged. Long before Hip‑Hop made the practice commonplace, Dancehall regularly sampled earlier genre tracks. In the early 1990s, Dancehall developed a more aggressive and less melodic style called Ragga. The style and content of Jamaican Dancehall and Ragga heavily influenced early American Rap, Hip‑Hop and Contemporary R&B, as well as Dubstep.

Dances associated with Dancehall include, the skank (a traditional reggae move), the bogle, the butterfly, willie bounce (?!) and the gully creepa.

Another sub‑genre of Reggae and Dancehall is Reggaeton, a genre that originated in Puerto Rico in the 1990s. Reggaeton fuses reggae and Latin rhythms with Hip‑Hop and electronica. Reggaeton is characterised by its infectious beats, catchy hooks and often explicit lyrics.

Related genres: Ska, Rocksteady, Reggae, Roots, Deejay, Ragga, Digital Dancehall, Nu Reggae, Soca, Rap, Hip‑Hop, Dubstep, Reggaeton, Contemporary R&B, Dub

Artist examples: Sizzla, Buju Banton, Sean Paul, Bounty Killer, Ini Kamoze, Barrington Levy, Cllint Eastwood, Ranking Joe, Tapper Zukie, Dillinger, Trinity, The Lone Ranger, Shabba Ranks, Eek‑A‑Mouse, Yellowman, Shaggy, General Levy, King Jammy, Ninjaman, Frankie Paul, Bobby Digital, General Saint, Cocoa Tea, Chaka Demus


Hip‑Hop (1979‑today – Peaks 1993, 1999 & 2022)

Hip‑Hop (with or without the hyphen) as a subculture and art movement has its roots in in block parties of African/American communities of New York City, particularly The Bronx c.1973. Originally, it was known as Rap and then Disco Rap, but the broader term Hip‑Hop has become the de facto title for the genre. Hip‑Hop is known for its bare bones rhythmic beat patterns and poetic spoken vocal delivery rather than strong melodies and sung vocals. Most Hip‑Hop tempos vary around the 80‑115BPM mark.

Much of Hip‑Hop’s roots can be traced back to Jamaican Reggae and its Deejay, Dancehall and Ragga sub‑genres. Hip‑Hop also adopted Soul, Disco and Funk samples to enhance the genre’s appeal in predominantly black urban communities. Hip‑Hop subculture revolved around a number of key characteristics; MCing/rapping, DJing/turntable scratching, breakdancing and graffiti/street art. Other characteristics emerged such as Beatboxing and Instrumental Hip‑Hop (minus rapping).

Hip‑Hop expanded rapidly during the 1980s migrating from New York and Boston across the continent breaking through into commercial success in the process. Once Hip‑Hop reached the West Coast of the US, particularly Los Angeles, the gang‑related, anti‑authority and violent themes of Gangsta Rap quickly gained popularity c.1988 and became seen as a reaction to, and rejection of, the east coast’s Hardcore Hip‑Hop. Despite Gangsta Rap’s reputation of glorifying guns, violence, sexual exploitation and drug‑use, it continued to gain popularity in the harsh life experiences of deprived black urban communities. Several high profile murders of Hip Hop artists plagued the 1990s, including Tupac Shakur and The Notorious B.I.G. (a.k.a. Biggie Smalls).

A sub‑genre of Gansta Rap, G‑Funk emerged in the 1990s and adopted a less aggressive, less confrontational posture. G‑Funk spread across the mid‑west and southern states, increasing Hip‑Hop’s popularity with both black and white audiences. Hip‑Hop continued to diversify into Crunk, Snap and Trap, becoming less political and more nihilistic in the process. Going full circle, there was a re‑emergence of New York Hip‑Hop around 1994. Hip‑Hop became mainstream and in‑turn influenced the genres that had influenced it, including commercial Pop. Hip‑Hop has expanded to include Urban (a.k.a. Urban Contemporary Music), Contemporary R&B and Instrumental Hip‑Hop.

The key street dance style associated with early rap and Hip‑Hop was breakdancing. Breakdancing has grown significantly in popularity from its roots as an American street art performance to being an international sport at the Olympic Games. Called just ‘breaking’, the dance/sport made its debut at Paris 2024.

Breakdancing (courtesy of Beatriz Braga)

In addition to breaking, other dances associated with Rap and Hip‑Hop include popping & locking, krumping, jerkin’ and tutting.

Related genres: Reggae, Deejay, Dancehall, Urban, Gangsta Rap, Experimental Hip‑Hop, Instrumental Hip‑Hop, Trip Hop, Hardcore Hip‑Hop, G‑Funk, Nu Metal, Crunk, Snap, Trap, Drill, Techno, House, Deep House, Trance, Electro Disco, Progressive Electronic, UK Garage, Glitch Hop, Rap, Disco Rap, Pop Rap, Beatboxing, Southern Hip‑Hop

Artist examples: Grandmaster Flash & The Furious Five, The Sugarhill Gang, The Beastie Boys, Run‑DMC, Dr Dre, Usher, Eminem, LL Cool J, 2Pac (Tupac Shakur), Nelly, Fun Lovin’ Criminals, Beyoncé, House of Pain, Coolio, A Tribe Called Quest, Kelis, Neneh Cherry, Cypress Hill, D12, Busta Rhymes, Tone Loc, Bubba Sparxxx, The Black Eyed Peas, N.W.A., Snoop Dogg, The Notorious B.I.G. (Biggie Smalls), Will Smith, DJ Jazzy Jeff & the Fresh Prince, Naughty by Nature, Public Enemy, Ice Cube, Ice‑T, Kendrick Lamar, Nas, Wu‑Tang Clan, Kanye West, DJ Shadow, K7, Jay‑Z, The Streets, Missy Elliott, 50 Cent, MC Hammer, OutKast


Rave (1986‑1994 – Peak 1988)

The term rave in connection with dance music has a long history, being used to describe wild beatnik parties in the 1950s and Mod parties in the 1960s. Party animals became known as ‘ravers’. For many, the Rave dance music scene was the most important paradigm shift in youth counter‑culture since Punk in the mid‑late 1970s.

During the 1980s, for some, discos, nightclubs and popular Club Music were not enough. In the mid‑late 1980s, psychedelic dance music originated in Acid House music parties in Chicago, USA. Word spread quickly and Acid House caught on in UK clubs, warehouses, private and free parties. As the genre name Acid House implies, the music was often associated with recreational drug use. Raves began in Manchester, England (nicknamed ‘Madchester’ in context) and then later in and around London (generally inside the M25 orbital motorway). The iconic Haçienda nightclub in Manchester was opened by the Post‑Punk band New Order and Factory Records. A film, ’24 Hour Party People’ (2002) portrayed the chaotic Madchester scene. Further films aimed to capture the essence of the rave phenomenon and its recreational drug frenzy including, ‘Go’ and ‘Human Traffic’ (both 1999).

Non‑standard Rave venues included homes, warehouses, industrial estates, basements and outdoors in forests. In the late 1980s, the word ‘rave’ was adopted to describe the underground subculture that grew out of the Acid House movement. Rave also became associated with psychedelic Rave parties held in Ibiza. Rave became massive, varying in size from a few thousand up to mainstream events as large as 25,000. Underground, i.e. illegal, Raves were the subject of much media hype, political rhetoric and heavy‑handed police crackdowns. Such hysteria led to a heightened awareness of, and attraction to, rave events for predominantly young, socially excluded anti‑establishment adherents willing to take risks with the law. Illegal rave venues were kept secret in an attempt to avoid police attention. Rave music became popular on UK pirate radio stations in the 1990s, adding to the mystique.

Rave (courtesy Harrison Haines)

Rave isn’t a genre with a definable sound of its own; it represents more of a pleasure‑seeking, indulgent lifestyle with widespread use of recreational and hard drugs. It is more of an umbrella term for a range of dance music genres popular at Rave events. Music featured at Raves included Acid House, Breakbeat Hardcore, Happy Hardcore, Drum & Bass, Post‑Industrial, Breakbeat and Electronica. Rave‑oriented tracks were mid‑tempo, generally around 130‑140BPM.

Acid House, born in the mid‑late 1980s, is known for its sound created by the iconic Roland TB‑303 synthesizer. Acid House is closely related to the early Rave scene and is characterised by its propulsive 4/4 time signature and psychedelic aesthetic. The familiar ‘smiley face’ emblem became an iconic part of the Rave and Acid House scene of the late 1980s.

Acid House Smiley Face
[Image: Acid House Smiley Face]

Dances associated with Rave include, running man, jump style, apple picking, liquid move, the stomp, glowsticking and gloving.

Rave strongly influenced sub‑genres such as Big Beat and Breakbeat, with their strong, heavy beats and complex and dynamic electronic drum rhythms, which combines EDM with Funk, Rock and Hip‑Hop. In turn, Big Beat and Breakbeat have been highly influential in the development of EDM. Rave’s diverse range of dance genres inspire high‑energy dance styles known for their hedonistic, exuberant, in‑your‑face sound and dynamic arrangements. Rave and its subculture live on, with a wide range of organised Rave festivals in many countries across the globe, far beyond its humble origins.

An off‑beat genre that was closely associated with the post‑club comedown parties was Trip Hop, which developed in Bristol, England with bands like Portishead, Massive Attack and Tricky making big waves from the late 1980s and early 1990s. Trip Hop is an experimental variant of Breakbeat, incorporating influences from Jazz, Soul, Funk, Reggae, Dub and Hip‑Hop. Trip Hop heavily influenced the growth of Intelligent Dance Music (IDM).

Related genres: Post‑Punk, Neo‑Psychedelia, Acid House, Acid Techno, Alternative Dance, Big Beat, Breakbeat, House, Electro, Hardcore Techno, Industrial Dance, Drum & Bass, Trance, Acid Trance, Dubstep, Balearic Beat, Deep House, Chillout, Downtempo, Nu‑Skool Breaks, Future Rave, Funk, Rock, Hip‑Hop, EDM, Breakbeat Hardcore, Happy Hardcore, Post‑Industrial, Trip Hop, Dub, IDM

Artist examples: The Shamen, The Prodigy, The Chemical Brothers, Orbital, Underworld, Happy Mondays, Primal Scream, Fatboy Slim, Infected Mushroom, Eat Static, Groove Armada, The KLF, Death In Vegas, Humanoid, A Guy Called Gerald, Shpongle, Stereo MC’s, Utah Saints, 808 State, Leftfield, All Saints, New Order, Altern‑8, Bassheads, Praga Kahn, Pete Heller, Martina Topley‑Bird, Portishead, Massive Attack, Tricky, Sneaker Pimps, Björk, Coldcut, Hallucinogen


Drum & Bass (1993‑1999 & 2020‑today – Peak 1994)

Drum & Bass, or just D&B to its many admirers, is known for its fast‑paced breakbeats, rolling basslines, and intricate electronic drum patterns. D&B combines elements of Acid House, Techno, Breakbeat and Hip‑Hop of the early 1990s, resulting in a high‑energy intense dance music experience. The up‑tempo nature of D&B regularly reaches 160‑180BPM or more. The DJ standard for D&B is a heady 174BPM. The fast tempo required D&B dancers to exhibit great stamina, frequently aided by drug use. D&B has experienced a number of peaks and troughs of popularity over time. D&B went on to influence the development of Dubstep and IDM.

Dances associated with D&B include, x‑outing and skank stepping.

While not strictly D&B, but bearing some similarities to it, Jungle, with its origins in the UK, is a high‑energy genre known for its fast‑paced breakbeats, heavy basslines, and reggae influences.

Neurofunk is a sub‑genre of D&B that emerged in the mid‑1990s, known for its complex, futuristic and experimental sound. Neurofunk introduced a unique approach to the genre, characterised by intricate basslines, glitchy studio effects and a darker atmosphere. Other related sub‑genres include Hardcore and Liquid Drum & Bass.

Related genres: Breakbeat, Big Beat, Jungle, Techno, Acid House, Neurofunk, Hardcore, Trance, EDM, IDM, Liquid Drum & Bass, Dubstep, Darkstep, Drumstep, Breakbeat Hardcore

Artist examples: Everything but the Girl, Chase & Status, Pendulum, Machinedrum, Sub Focus, Finley Quaye, Squarepusher, Amon Tobin, Goldie, Roni Size


Alternative Dance (1985‑2010 – Peak 1991)

Alternative Dance (a.k.a. Indie Dance or Underground Dance) is a broad catch‑all for dance‑inspired music by artists generally not associated with a defined dance music genre. Alternative Dance frequently but not exclusively incorporates synthesizer‑based rhythms derived from dance music within the context of Alternative Rock and other related genres. Alternative Dance first developed in Manchester in the UK during the early 1980s Post‑Punk movement with bands like New Order mixing Synthpop and Electro‑Disco. Alternative Dance, under the guise of Post‑Disco, was increasingly popular during the 1990s.

You may not immediately connect genres such as Indie, Grunge, Alternative Rock and Hard Rock with dance music. However, many Rock et al bands have embraced the groovy, foot‑tapping nature of dance music and incorporated influences into their own fusion‑style music that can be eminently danceable. In turn, many dance artists have sampled or collaborated with Rock et al artists to produce club‑friendly versions of classic rock tracks. This cross‑pollination has proved fertile ground for those involved and has created some interesting dance‑oriented versions of otherwise un‑danceable tracks.

Various dance forms have been associated with the genres that fit under the label Alternative Dance include, the shoegaze shuffle, the synthpop sway, the new wave nod, the trip hop trip, the Manchester wiggle and the Björk bounce.

Related genres: Alternative Rock, Grunge, Indie, Neo‑Psychedelia, Acid Jazz, Indietronica, EDM, Synthpop, Electro Disco, Post‑Punk, Shoegaze, Acid House, Nu Rave, Synthwave, Darkwave, Ethereal wave, EBM (Electronic Body Music), Hip‑Hop, Trip Hop, Instrumental Hip‑Hop, Psychedelic Trance

Artist examples: New Order, Primal Scream, Happy Mondays, Galliano, The Brand New Heavies, Morcheeba, Red Hot Chili Peppers, White Lies, The Hurts, Dynamic Syncopation, 9 Lazy 9, Mr Scruff, Amon Tobin, DJ Vadim, The Irresistible Force, Kid Koala, Coldcut, Luke Vibert, Fink, Funki Porcini, DJ Food, Hexstatic, The Cinematic Orchestra, Ashley Beedle, The Herbaliser, Jaga Jazzist, Caribou, LCD Soundsystem, Young Fathers, Manitoba, Broadcast, The xx, Saint Etienne, Jesus Jones, Hot Chip, Holy Fuck, M83, Tom Vek, Public Service Broadcasting, Reverend And the Makers, Big Audio Dynamite, Sugarcubes, Crystal Castles, Dubstar, Space, Howie B, Björk, Amorphous Androgynous


Balearic Beat (1986‑1994 & 2006‑2023 – Peaks 1990 & 2014)

Geographically, Balearic refers to a chain of islands in the Mediterranean off the east coast of Spain, home to Ibiza Island, one of the dance capitals of the world. The origins of Balearic Beat date back to a time when English DJs vacationing in Ibiza made use of their skills at parties, which became increasingly popular, particularly with holidaying celebrities. This trend then spread to tourists visiting the White Island to experience sun, sea, sand, sex, drugs and dancing. Balearic Beat has come to represent a dancefloor influenced sound conjuring up images of the warm sunsets and sunrises of Mediterranean beaches – and the hedonistic, drug‑fuelled dance parties that took place between dusk and dawn. Drug use is commonplace in Balearic dance music culture, including MDMA, amphetamine, cannabis, cocaine, LSD and ketamine.

The word Balearic here is used as an umbrella term for a wide range of Mediterranean vital vibe venues including Ibiza (and Formentera) and beyond. Other ‘Med’ (in more ways than one!) party destinations include Mykonos (Greece) and Magaluf (Majorca, Spain). These clubbing alternatives are largely regarded as second rate Ibiza wannabes. The scope does, by loose association, include other clubbing travel destinations outside the Mediterranean such as Goa (India) and Playa de las Américas (Tenerife). It is a bit of a tenuous link but it is used here for expediency.

Balearic Beat covers a range of music genres and is characterised by its relaxed atmosphere, laid back beats and R&B influenced swingy percussion, with its slow and heavy tempo at around 90‑110BPM. Influences include African Music, Hispanic American Music, Italo‑Disco, Eurodance, Soul, Funk, Reggae, Ambient, Downtempo, Chillout and Dub.

Ibiza Island led the way with its range of top notch, trendy nightclubs such as Pacha, Space, Amnesia, Privilege, Es Paradis, Eden, DC10, Octan, Underground and Swag. More recent is the emergence of Ibiza Super Clubs such as Hï, Ushuaïa, Lío, Cova Santa and Ocean Beach Club. The author’s favourite was Amnesia.

Ibiza lounge parties were the norm from the late 1980s and 1990s at the likes of Café del Mar, Café Mambo and Kumharas, all on the San Antonio Bay sea front. Venues in the island’s interior included Bambuddha Grove and KM5 up to the 2000s. After a decade of decline, Ibiza has seen a resurgence in the late 2010s and early 2020s with a rejuvenated EDM scene.

There aren’t specific dances that go along with the Balearic Beat, so freestyle is a common way of enjoying the island grooves. However, shuffling, swaying & twirling, and moves inspired by Latin dances such as salsa and samba fit the bill.

Goa Trance is characterised by hypnotic beats, ethereal melodies and a psychedelic atmosphere. Originating from Goa, India, Goa Trance gained global popularity for its mind‑expanding sound. Goa Trance often incorporates cultural and spiritual elements, intended to create a transcendent experience for listeners, often assisted by use of mind‑altering psychedelic/hallucinogenic drugs like LSD (acid), mescaline (peyote), psilocybin (shrooms) and DMT (dimethyltryptamine – the so‑called ‘God molecule’) to create altered states of consciousness.

A sub‑genre deeply connected to the heady Goa Trance scene is Psytrance, with its hypnotic beats, intricate soundscapes, and psychedelic influences. Psytrance immerses listeners in euphoric, transcendent otherworldly journeys.

Another Goa sub‑genre is Psybient, which is a fusion of psychedelic and ambient music. Psybient is characterised by its dreamy and otherworldly soundscapes and intended to immerse listeners in sonic voyages, often inspired by nature, local culture and psychedelia. Psybient became a favourite in club chillout spaces and festivals for relaxation and introspection. A popular close relative of Psybient is Ambient Dub for chilling out.

Related genres: Soul, Funk, Trance, Techno, House, Dub, Afrobeat, Italo Disco, R&B, Hispanic, EDM. Chillout, Downtempo, Psytrance, Psybient, Psychedelic Trance, Goa Trance, Ambient Dub, Neo‑Psychedelia

Artist examples: ATB, Robert Miles, Chicane, Monaco, Ibizarre, Juno Reactor, Solar Fields, Tosca, Electribe 101, Deep Dive Corp, Mylo, Darude, Nacho Sotomayor, Gaudi, A Man Called Adam, Aim, Jean Jacques Smoothie, Fragma, Jakatta, Bent, Spiller, Hallucinogen, Astral Projection, Infected Mushroom, Klaxons, Culture Beat, Sueño Latino, Daddy Yankee, Stardust, John Talabot, 1200 Micrograms


Downtempo & Chillout (1990‑2008 & 2022‑today – Peaks 2001 & 2023)

Downtempo (a.k.a. Downbeat) and its close relative Chillout are genres that emphasise slower tempos (around 60‑110BPM), relaxed beats, laidback vibes, atmospheric soundscapes and soothing melodies, often without a discernible beat.

Downtempo and Chillout are often used interchangeably and, to be honest, there is not a great deal to distinguish them other than perhaps their degree of rhythm and/or beat. Downtempo actually means ‘slow beat’. They are both used as broad terms for contemporary ‘easy listening’, which isn’t exactly helpful. Influences include, Ambient, Reggae, Electronica, Jazz, New Age and World music. Many admirers use Ambient Dub for meditation and mindfulness.

Chillout is a term derived from the ‘White Room’ at the Heaven nightclub in London in 1989 where DJs played Ambient and Ambient House music as a place to chill out or relax from the more intense tempos of the main dancefloor. These dedicated breakout areas became known as ‘chillout rooms’. Chillout is also often used in lounge bar settings and as background music. Due to market saturation, Ambient House declined in popularity during the early 2000s but has seen a big resurgence in the Covid‑hit 2020s.

Downtempo and Chillout encompass various dance music subgenres, including Trip Hop, Ambient House, Lo Fi Hip‑Hop, Psybient, Chillwave, Ambient Dub, Reggae, Nu Jazz and Ambient.

Related genres: Hip‑Hop, Trip Hop, Instrumental Hip‑Hop, EDM, Dub, Ambient Dub, Ambient Electronica, Ambient House, Ambient Techno, Ambient Trance, Progressive Electronic, Deep House, Nu Jazz, Breakbeat, Psybient, Chillwave, Lo‑Fi Hip‑Hop, Balearic Beat, Electronica, Jazz, Rock, New Age, World, Reggae, Ambient, Vaporwave

Artist examples: Massive Attack, Portishead, Tricky, Aphex Twin, The KLF, Fishmans, Thievery Corporation, Bonobo, Boards of Canada, Mr Scruff, Tycho, Nightmares on Wax, Ibizarre, Moloko, Innocence, Royksopp, London Grammar, The Beloved, St Germain, Air, Zero 7, The Orb, Smoke City, The Art of Noise, William Orbit, Helios, The Future Sound of London, Dirty Vegas, Bicep, Deadbeat, Jon Hopkins, Brian Eno, Moby, Sofa Surfers, The Dining Rooms


Dubstep (2006‑2020 – Peak 2012)

Dubstep is a dance music genre that originated in London, UK in the early‑mid 2000s. Dubstep is characterised by its sparse beats, heavy basslines, syncopated rhythms, and explosive drops, making great use of synthesizers to create its epic soundscape. Dubstep fuses elements of Reggae, Hip‑Hop and Rock with dance music beats, creating a powerful and often aggressive sound.

Dubstep has its roots in Dancehall’s beats, Drum & Bass’s drops and in Dub’s digital studio effects. For a dance music genre, Dubstep tempo has a relatively slow 70‑100BPM, making use of ‘half‑time’ rhythms, a characteristic of the genre. Dubstep is often closely associated with Grime, which appeared at around the same time with a faster tempo of around 140BPM.

Dance moves associated with Dubstep include, the wobble shuffle, the bass drop stomp, the rewind spin and the drop & flutter.

Just as Downtempo and Chillout stemmed from Balearic night clubs, bars and lounges, a sub‑genre of Dubstep is Chillstep, which emphasises melodic and slow ambient elements. Chillstep is known for its calming and ethereal sound, often incorporating female vocals. Like Downtempo, Chillstep is ideal for unwinding and relaxation.

Future Bass, with its lush emotional melodies is a sub‑genre that became prominent in the 2010s. While it is influenced by Dubstep and Trap, it adopts a warmer, less abrasive style that made an important connection between Pop and EDM.

Future Garage is a dark, minimalistic sub‑genre pioneered by Burial that combines elements of Garage, Dubstep, and House. It’s characterised by its sparse intricate rhythms, sampled vocals, and a highly atmospheric vibe. Another derivative of Dubstep is UK Bass with influences from IDM, Footwork and Techno.

While Dubstep and its derivatives remained popular into the 2010s, it has largely returned to its underground roots.

Related genres: EDM, Drum & Bass, UK Bass, UK Garage, Future Bass, Future Garage, Grime, Breakstep, Electro House, House, Brostep, Chillstep, Reggae, Trip Hop, Hip‑Hop, Rock, Dancehall, Dub, Trap, IDM, Footwork, Techno, 2‑Step

Artist examples: Burial, Skrillex, Katy B, Sub Focus, James Blake, Labrinth, Magnetic Man, Modestep, Excision, SBTRKT, Skream, Kode9, DMZ


EDM (1980‑1989 & 2010‑today – Peaks 1995, 2010 & 2023)

It is hard to believe but it was way, way back in 1980 that English musician, singer/songwriter and record producer Richard James Burgess, a member of the jazz/rock band Landscape, coined the term Electronic Dance Music, a.k.a. EDM.

The term EDM, though, didn’t really come into its own until its boom in the 2010s. Prior to that, it was a loose description of music that was, erm… electronic and danceable. Duh! Today, EDM has attempted to corral and coalesce a wide range of dance music genres into some broad categorisation. Prior to the 2010s, dance music was associated with discrete genres and sub‑genres. Post‑2010, EDM has attempted to become the main descriptor and exemplar of everything electronic dance. As such, it is arguably not a genre in its own right. However, keen‑eyed readers will also have noticed that other groupings described here, like Pop, Club Music, Rave and Balearic Beat are similar in the way they try to bring separate genres and sub‑genres together under broader, more meaningful headings.

EDM’s roots lie in the second half of the 1970s when Electro Synth Pop and Hi‑NRG arose in the wake of traditional dance genres like Soul, Funk and Disco. MTV was a prime catalyst for surge of interest in early EDM. House and Techno took on the mantle in the 1980s with the widespread adoption of digital technology and the crucial adoption of the MIDI (Musical Instrument Digital Interface) industry standard communication and control protocol for electronic musical instruments.

The next step in the EDM journey was with Trance and Eurodance. With the advent of the Internet, electronic dance culture became global with forms of electronic dance music becoming prevalent in many countries. EDM covers a wide range of tempos from the slow 60‑90BPM right up to the insane 240BPM of Speedcore, meaning plenty of choice for ravers, club‑goers and passive listeners.

So… is EDM a genre in its own right or is it simply a method for grouping a vast array of electronic dance sub‑genres into a convenient package for consumers? You decide.

As EDM is an expansive heading for diverse dance genres, the same goes for EDM dances, so it is no surprise then that EDM doesn’t have dedicated dance moves but borrows from the genres it represents including, shuffling, jumpstyle, gloving, liquid dancing, tutting, the Melbourne shuffle, popping & locking, voguing and cutting shapes.

Related genres: Electro, Hi‑NRG, Acid House, Drum & Bass, Future House, Minimal House, House, Trance, Techno, Acid Techno, Bleep Techno, Detroit Techno, Minimal Techno, Garage, UK Garage, 2‑Step, Pop, Dance Pop, Synth Pop, Dance Punk, Alternative Dance, Breakbeat, Drum & Bass, Trance, Acid Trance, Ibiza Trance, Psytrance, Psybient, Dub, Dubstep, Eurobeat, Europop, Eurodance, Mutant Disco, Nu Disco, Balearic Beat, Acid Breaks, Big Beat, Deconstructed Club, Jungle, Footwork, Freestyle, EBM, Future Bass, Future Rave, Grime, Trap, Bouncy Techno, Hard Dance, Miami Bass, Wonky, Dance Pop, Slap House

Artist examples: Landscape, Coldcut, Daft Punk, Deadmau5, Calvin Harris, David Guetta, Swedish House Mafia, Major Lazer, Armin Van Buuren, Paul Oakenfold, Disclosure, Rudimental, Years & Years, Digitalism, Example, Justice, Professor Green, MØ, LFO, Felix Da Housecat, Ferry Corsten, Clean Bandit, Moby, Madonna, Paul Van Dyk, Tiësto, M83, System 7, The Aloof, The Groove Corporation, The Dust Brothers, React 2 Rhythm, Charlie XCX, Billie Eilish, Igloohost, Space, Faithless, Avicii, Alesso, Flume


IDM (1992‑today – Peaks 2001 & 2009)

IDM (an abbreviation of Intelligent Dance Music) is an electronic dance genre emanating from the 1990s and drawing inspiration from House, Techno and Drum & Bass. IDM artists aim to challenge conventional electronic dance music tropes including a cursory dismissal of the traditional ‘four‑to‑the‑floor’ forms of EDM. IDM artists wanted to take a more experimental approach to creating dance music. Ironically, a large proportion of IDM is intended for listening, rather than for dancing.

IDM is characterised by intricate rhythms, odd time signatures and unconventional song structures. IDM has been criticised for its somewhat ‘highbrow’ – some say elitist – approach to the art. The use of the word, ‘intelligent’ is seen by many as condescending. IDM has certainly pushed the boundaries of what consumers can expect from electronic music, inviting listeners to engage on an intellectual level, rather than a purely physical one. Some critics suggest that IDM as a concept is patronising of more popular genres of popular dance music. IDM has, however, achieved significant success from fans looking for something a bit different from the norm.

Experimental Dance is a sub‑genre that is an integral part of IDM, intended to defy conventional classification, often challenging the limits of traditional dance music forms (and test the audience’s tolerance). Experimental Dance is a genre that inspires innovation and sonic exploration, embracing unusual rhythms and esoteric sound design. Experimental Dance artists go out of their way to subvert listeners’ preconceptions by creating eccentric, avant‑garde compositions that invite scrutiny and stimulate creativity. Many audiences find Experimental Dance hard to access and difficult to engage with.

Like with EDM, IDM covers a broad range of music sub‑genres, so dances and dance moves are also varied and derivative, including, freestyle, glitch dancing, liquid dancing and popping & locking.

Another popular derivative of IDM is a more traditional approach taken by Nu Jazz, diversifying IDM with a broader range of influences with an emphasis on ‘feel’, ‘groove’ and use of jazzy samples, largely absent from core IDM. Nu Jazz had elements reminiscent of EDM and has helped to bridge the gap between the two.

Glitch Hop is a sub‑genre emanating from the late‑1990s that combined IDM with pared back Hip‑Hop influences, particularly Instrumental Hip‑Hop. Glitch Hop is characterised by its use of ‘glitchy’ (duh!) studio effects and techniques, including cutting, skipping, repeating, chopping, and bit‑crush reduction of recorded samples.

Wonky is another sub‑genre of IDM that combines Dubstep and Hip‑Hop influences arising from around 2009. Wonky (the hint is in the name) is defined by its off‑kilter and unstable mid‑range frequencies using un‑quantised (non‑synchronised) and offbeat Hip‑Hop rhythms at Dubstep‑style half‑time tempos. The name Wonky allegedly arose as a result of the observed effects of ketamine on users’ ability (or not) to dance.

Related genres: EDM, EBM, Glitch, Wonky, Techno, House, Drum & Bass, Breakcore, Glitch Hop, Footwork, Experimental Dance, Nu Jazz, Hip‑Hop, Instrumental Hip‑Hop, 2‑Step, Hypnagogic Pop, Lo‑Fi Pop

Artist examples: Burial, Four Tet, Caribou, Autechre, Aphex Twin, Boards of Canada, Sauarepusher, Mouse on Mars, Orbital, Actress, Amon Tobin, Apparat, Biosphere, Higher Intelligence Agency, Clark, Carbon Based Lifeforms, Cylob, 9 Lazy 9, Faulty DL, The Field, Floating Points, Flying Lotus, Jon Hopkins, Kid606, Lemon Jelly, Moderat, Oneohtrix Point Never, Plastikman

“Dancers are the athletes of God” – Albert Einstein (1879‑1955)


The ‘Best’ Dance Songs of All Time

For all you list‑o‑philes out there, according to the prestigious Rolling Stone Magazine in 2022, they listed the ‘Top 200’ dance music songs of all time. Here are is their Top 20:

  1. Donna Summer – I Feel Love (1977)
  2. Daft Punk – One More Time (2000)
  3. Chic – Good Times (1979)
  4. Frankie Knuckles and Jamie Principle – Your Love (1986)
  5. Indeep – Last Night a D.J. Saved My Life (1982)
  6. Shannon – Let the Music Play (1983)
  7. Robyn – Dancing on My Own (2010)
  8. On the House and Marshall Jefferson – Move Your Body (The House Music Anthem) (1986)
  9. Robin S. – Show Me Love (1992)
  10. Disclosure (feat. Sam Smith) – Latch (2013)
  11. Madonna – Vogue (1990)
  12. Kraftwerk – Trans‑Europe Express (1977)
  13. First Choice – Let No Man Put Asunder (1977)
  14. Adonis – No Way Back (1986)
  15. James Brown – Get on the Good Foot (1972)
  16. Rihanna (feat. Calvin Harris) – We Found Love (2011)
  17. Beltram – Energy Flash (1990)
  18. New Order – Blue Monday (1983)
  19. Prince – Controversy (1981)
  20. Kylie Minogue – Can’t Get You Out of My Head (2001)

Going back a little, to 2011 in fact, Rolling Stone carried out a readers’ poll of the ‘Top 10’ dance music songs. Here’s what actual punters came up with.

  1. Daft Punk – One More Time (2000)
  2. New Order – Blue Monday (1983)
  3. The Beatles – Twist and Shout (1961)
  4. Justice – D.A.N.C.E. (2007)
  5. Madonna – Vogue (1990)
  6. The Isley Brothers – Shout (1959)
  7. Michael Jackson – Thriller (1983)
  8. Deee‑Lite – Groove Is In the Heart (1990)
  9. Chic – Le Freak (1978)
  10. Bee Gees – Stayin’ Alive (1977)

I don’t know what you think of that. Personally, I don’t agree with much of it but that’s not really surprising, as everyone will have their own unique opinion and favourites, which is why I’m not criticising the findings of others. The results presented above are what they are, though; that’s what Rolling Stone came up with.

Suffice to say that my personal selection would be substantially different. For what it’s worth, here are my ‘Top 50’ dance music tracks (only one per artist, in date and then sort‑of alphabetical order).

  1. Chic – Le Freak (1978)
  2. Funkadelic – One Nation Under a Groove (1978)
  3. Earth, Wind & Fire – Boogie Wonderland (1979)
  4. Michael Jackson – Off The Wall (1979)
  5. Anita Ward – Ring My Bell (1979)
  6. The Brothers Johnson – Stomp (1980)
  7. The Gap Band – Burn Rubber on Me (Why You Wanna Hurt Me) (1980)
  8. Joy Division – Love Will Tear Us Apart (1980)
  9. Kool & The Gang – Celebration (1980)
  10. Grandmaster Flash & the Furious Five – The Message (1982)
  11. Rockers Revenge – Walking On Sunshine (1982)
  12. David Bowie – Let’s Dance (1983)
  13. New Order – Blue Monday (1983)
  14. Rick James – 17 (1984)
  15. Paul Hardcastle – 19 (1985)
  16. Happy Mondays – W.F.L. (Wrote For Luck) (1988)
  17. Technotronic – Pump Up the Jam (1989)
  18. C+C Music Factory – Gonna Make You Sweat (Everybody Dance Now) (1990)
  19. Bomb The Bass – Winter In July (1991)
  20. DJ Jazzy Jeff & The Fresh Prince – Summertime (1991)
  21. Prince – Cream (1991)
  22. Stereo MC’s – Connected (1992)
  23. Ini Kamoze – Here Comes the Hotstepper (1994)
  24. Everything But The Girl – Missing (1995)
  25. Massive Attack – Karmacoma (1995)
  26. Faithless – Insomnia (1996)
  27. Orbital – Satan (1996)
  28. The Prodigy – Firestarter (1996)
  29. The Orb – Toxygene (1997)
  30. Ultra Naté – Free (1997)
  31. Beastie Boys – Intergalactic (1998)
  32. Stardust – Music Sounds Better With You (1998)
  33. Aim – Cold Water Music (1999)
  34. ATB – 9pm (Till I Come) (1999)
  35. Basement Jaxx – Red Alert (1999)
  36. Fatboy Slim – Right Here Right Now (1999)
  37. Groove Armada – I See You Baby (1999)
  38. The Chemical Brothers – Hey Boy Hey Girl (1999)
  39. Leftfield – Phat Planet (1999)
  40. Moloko – The Time Is Now (2000)
  41. Spiller – Groovejet (If This Ain’t Love) (2000)
  42. The Underdog Project – Summer Jam (2000)
  43. D12 – Purple Pills (2001)
  44. Kosheen – Hide U (2001)
  45. Kylie Minogue – Can’t Get You Out of My Head (2001)
  46. Roger Sanchez – Another Chance (2001)
  47. The Rapture – House Of Jealous Lovers (2002)
  48. X-Press 2 (feat. David Byrne) – Lazy (2002)
  49. LCD Soundsystem – Daft Punk Is Playing At My House (2005)
  50. Hot Chip – Ready For The Floor (2008)

That’s 5 from the 1970s, 12 from the 1980s, 22 from the 1990s and 11 from the 2000s. None from the 2010s or the 2020s (yet). That represents a fairly typical distribution pattern and one that probably isn’t far from dance music popularity by year/decade either. The 1990s was also the decade that the author was most into dance music and nightclubbing, so that may account for it. 1999, it seems was a good year (7).

I’m not sure what each of these 50 tracks all released during a 30‑year period between 1978 and 2008 say about me or my musical taste. However, I would be happy to have these as a compilation for a ‘desert island’ holiday soundtrack. Some are pretty predictable and some are a little more esoteric. Nothing extreme in there, though. To me, collectively they all sum up a positive attitude towards life.

“This existence of ours is as transient as autumn clouds. To watch the birth and death of beings is like looking at the movements of a dance” – Buddha (Siddhārtha Gautama – c.480‑400BCE)


The Future of Dance and Dance Music

As usual, speculation about the future is fraught with risk of completely missing the mark. However, let’s give it a go with a few thoughts of random conjecture.

The future of dance will rely not only on the ‘live’ nightclub and festival scenes but also by Internet‑based streaming services that focus specifically on curating dance music playlists, curated by respected DJs, producers and artists. Physical media will see a resurgence and will catalyse a revitalised interest in the past.

Mainstream dance music is likely to feature strongly on future festival circuits. This isn’t new. However, major dedicated dance music events are likely to increase in both number and size. There will be greater crossover and cross‑pollination between dance festivals and traditional multi‑genre festivals, thus increasing the number of ‘genre stages’ within larger festivals.

Dance continues to influence many non‑EDM genres and there will be many more artists including dance music tropes into their material. Dance music will continue to diversify and, while there have been scant recent genre developments, the horizon is just waiting for something new and fresh to get people up and dancing. Innovation is needed and there is a growing sense that something big is brewing somewhere in the underground to propel dance music forward once again.

The change from coherent album releases to a focus on ‘bite‑size’ soundbite single tracks, as has been a typical trend over the last decade will continue to be the case and will be even more so in the future. However, the underground will see the opposite, with a determination to stick to the core essentials that made the dance phenomenon so spectacular in the first place.

As it ever was, the underground will prove to be the experimental breeding ground for what will, one day, become familiar. While the mainstream continues to dilute extremes, the underground will push the boundaries of what has come before – harder and more intense at one end of the spectrum and to amorphous ambient styles like Vaporwave at the other – and that will, over time, infiltrate the mainstream to keep the genres evolving.

‘Live’ DJ performances will push the visual aspect of sessions, making their shows more immersive and captivating. Now that COVID is largely a thing of the past, live artist performances will help to revitalise gigs from local pubs all the way up to large arenas and to more creative virtual/augmented reality (VR/AR) gigs.

Digital and analogue synthesizers will continue to develop and enable new sounds and styles to be created. Recording and production technology will enhance music creativity and technology will enhance distribution and access, including personalised playlist curation.

We can no longer think of dance and dance music being the sole preserve of the American, UK and European artists – it is a global scene and the cross‑cultural influences will increase and help to diversify dance and dance music.

If you respect what the Grammy Awards organisation says, they put forward eight trends from 2022 that they forecast would help to define the future of dance music:

  • House Infused Pop
  • Artists Respected The Roots
  • Women Took The Techno Reins
  • The UK Came Through
  • Tech‑House Went Further Mainstream
  • EDM Nostalgia Lived On
  • TikTok Made Dance Hits
  • Rave Was Recontextualized

Nostalgia will become an important part of the future of dance music. It may seem contradictory that one is looking back in order to look forward. Many dance music genres have been remarkably enduring and, as newer generations come through, they will be looking for something new but also discovering some of the best of the past. New genres will supplement existing ones, rather than replace them. Creative artists will surely plunder some of the past and incorporate into something completely new and fresh.

Recording technology will continue to have a major impact on dance music. From the early days where large bands used expensive and finite studio space to record Rock & Roll, Soul, Funk and Disco to the bedroom producers of today using Digital Audio Workstations (DAWs) and plug‑in modules to produce infinitely variable tracks in both EDM and IDM. New technologies, such as Artificial Intelligence (AI) and big data will be used to create sounds and structures hitherto unheard of. One watches with interest to see what comes next.

“Dancing can reveal all the mystery that music conceals” – Charles Baudelaire (Poet, 1821‑1867)


Final thoughts on Dance and Dance Music

SO… There you have it. The author’s ‘wonky’ (sic!) look at modern dance music trends. The fascination comes in older genres not disappearing but being complemented by newer forms. This incremental approach to dance music evolution has enabled it to adapt to and reflect the needs of ever‑changing audiences across the globe.

Dance and Dance Music is not dead. Far from it. Admittedly, it needs a regular injection of creative inspiration to keep it up‑to‑date and relevant, something that has been missing for a few years now. Dance music will endure and it will continue to reinvent itself over and over and over again. Part of the human condition is to dance and to listen to music. It is an ‘and’, not an ‘or’. That co‑dependency isn’t going to change any time soon.

Music will have to adapt to social change and society will be reflected in the music it engages with, including dance music. Whatever you are into, don’t hesitate, just go with the flow and ‘Get Up and Dance to the Music’, as Sly & The Family Stone encouraged us, way back in 1967. Let’s be clear, dance and dance music won’t save the world, sadly, but it can make it a better place to live. Humanity will not thrive without dance music being an integral part of life’s positive, joyful experiences.

Dance events don’t seem to be losing popularity, with dedicated festivals and holiday party destination venues like Ibiza being perennially attractive for hedonistic youth. DJ Fatboy Slim (a.k.a. Norman Cook) held his infamous ‘Big Beach Boutique II’ free open air event held on Brighton Beach in southern England on 13 July 2002, attracting in excess of 250,000 attendees (organisers expected no more than 60,000!) and brought the south coast city to a standstill. The author was actually there and it was truly overwhelming, scary and, frankly, dangerous. However, it set the bar for what one DJ and a BIG crowd can do.

One little thing the author misses is the CD Single. Particularly for dance music, CD Singles regularly provided 12” (even though a CD is 4.75” – 12” refers to its vinyl equivalent) alternative (re‑)mixes of familiar club or dance pop tracks. Some remixes were less interesting while others gave an insight into the art of remixing of tracks for night club consumption. I suppose that streaming services and compilation albums could fill that gap but they don’t seem to do it in the way they did in the 1990s.

While the author is no longer able to participate in nightclubbing, I still listen to the music that made nightclubbing great fun. I genuinely miss the nightclub environment, the smoke, the dark, the lights, the high sound pressure levels and pounding bass and the sheer energy of the club goers (and, of course, the stunningly gorgeous young women!). I must admit a tendency towards House and Trance genres, as well as the whole Downtempo/Chillout/Ambient Electronica/Dub genres that go with them. The author spent a number of delightfully blissful summers on the White Island of Ibiza lapping up its natural splendour by day and the vibrant music scene by night.

Like with other genre articles in which I’ve been interested, this article has demonstrated both the amount of dance music that I already own as well as discovering and hunting down new (to me) dance music. Music exploration is great fun. I whole heartedly recommend it and worth the inevitable odd dud.

I must admit that I am not into traditional social, regional folk or classical dance/dance music. My heart lies in the here and now, with the vitality and vibrancy of modern dance music. As with other genres, I am also on the discovery trail to see what is out there to find. New is good.

That’s it, the future of Dance and Dance Music looks promisingly strong and transformative. One thing is for sure, it ain’t going anywhere anytime soon. As the title of this article suggests; it is time to get up and dance to the music. And thus it should be forevermore.

“Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought” – Yip Harburg (Song writer, 1896‑1981)


CRAVE Guitars’ ‘Album of the Month’

Unbelievable to think that this month’s honour goes to an album that is already 17 years old! This choice is because, perhaps more than most other albums since the millennium, it conjures up a synesthetic image of sound. To me, it evokes a preternatural vision of a rain‑soaked, neon‑diffused, deserted city scape. One could imagine sitting in solitude listening subconsciously to ‘Untrue’, looking out on the sodden dystopia through a misty haze of condensation on the inside and kaleidoscopic water droplets on the outside, longing for something intangible and lost. Can you feel it? Hell yeah.

AI Cityscape

Burial – Untrue (2007). ‘Untrue’ is the second studio album by British electronic artist and music producer Burial (a.k.a. William Emmanuel Bevan). It was released in November 2007 on the Hyperdub record label. If any album demonstrates how far 21st Century dance music has evolved since Rock & Roll, this album is probably part of the evidence I’d put forward. Let’s start with the duplicity. This is dance music you can’t really dance to. ‘Untrue’ falls into several (or no) easy genre boxes depending how one is feeling. However, if one has to categorise it, it falls roughly into Future Garage, Dubstep, Ambient and 2-Step or even IDM. The reason it has been chosen is that it was truly ground breaking at the time.

Burial – Untrue (2007)

There are many other contenders for this accolade including great albums from the likes of Four Tet, Bonobo, Boards of Canada, Jon Hopkins, Actress and Aphex Twin. There is just something so immersive, so surreal and so influential about Burial’s ‘Untrue’, that it takes the top spot this month. Albums like this only come along perhaps once a decade.

“Fine dancing, I believe, like virtue, must be its own reward” – Jane Austen (Author, 1775‑1817)


Tailpiece

Right, that’s the end of another gargantuan 2‑part article delving into dance and dance music. One trusts that it was in some way enjoyable and the intermission didn’t cause too much inconvenience. I learned something in researching and writing and I hope you did from the results too. Well, I and my dual port lower leg extremities are off to trip over on the dancefloor and make a total ass of myself. You know it’s gotta be done.

From next month, I plan to change things fundamentally for a (hopefully) short duration. Why? I’m not telling. Yet. You’ll have to come back to find out more. Intrigued? Let’s see. The next article is some way off now, at the end of October. Hope to ‘see’ you then.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Act as a beacon for good and stand up for what is right, so that others can see for themselves the best way ahead”

© 2024 CRAVE Guitars – Love Vintage Guitars.

 

Like it? Why not share it?

September 2023 – Adventures in Ambient: Music of Another Dimension

Prelude

In the last article (August 2023), I explored the alluring realm of dub reggae, as one of my musical passions. This month, as we race headlong into autumn with its cooler, darker evenings, I’d like to explore another musical genre close to my heart, ambient electronica. There seems to be a great deal of consensus about where ambient came from while, at the same time, a great deal of disagreement about what it is today, let alone where it is going. While this may sound inherently contradictory, the convoluted world of ambient music is quite fascinating, at least to me. Unlike reggae, which had a defined geographical origin – the small island of Jamaica in the Caribbean – ambient has a completely different set of roots. Also, while dub reggae and ambient seem entirely discrete, there are some crossovers.

Once again, like dub reggae, the ambient musical landscape is not really guitar‑based. It is essentially one of three things, acoustic – mainly classical – instruments, the sounds of the natural and built world all around us, and electronic sounds, primarily but not exclusively synthesizers.

As with all previous articles, this is not intended to present any sort of definitive academic analysis, it is purely my interpretation of ambient music, past and current, as I see (or rather hear) it. There are a lot of blurred overlaps and permeable boundaries here, so I am certain that some readers will disagree vehemently with my version of the story. That is their prerogative and this is my article, so I’m sticking to my biased version. This is also only the proverbial ‘tip of the iceberg’ with lots more to discover.

No AI has been used in researching and writing this article. All images used are royalty free courtesy of Pixaby and Wikimedia Commons.

So, get comfy, chill and absorb yourself into the mesmerising universe of ambient music for a while.


Defining ambient

Perhaps a good starting point is to understand what the solitary word ‘ambient’ actually means, both in non‑musical and musical contexts.

Literally, ambient is an adjective meaning ‘of the surrounding area or environment’, ‘existing or present on all sides’ or ‘enveloping or completely surrounding’. As a noun, it means ‘an encompassing environment or atmosphere’. In this article we are not talking about ambient temperatures or ambient pressures, although these may affect sound vibrations in the environment. We are also not talking ambient light, although this may affect mood and temperament.

Defining ambient sound

Ambient sound is the total of all background or surrounding noises that exist in every direction, in any immediate surroundings, as measured by sound pressure level (SPL – expressed in decibels). Decibel levels are important because they provide information to the brain on how quiet or loud a sound is in relative terms. Human ears and brains are designed to detect slight variations in SPL in stereo (binaural hearing), which help us determine from which direction a sound originates. Basically, ambient sound is the total of what you can hear in the present moment, wherever you are.

Ambient sound is always present, even if it is at very low levels. Humans cannot tolerate near‑0dB for long. 0dB is unobtainable under normal conditions. Experiments have shown that people who are deprived of ambient sound can quickly become unsettled or disoriented because humans rely on ambient sound to locate themselves within their environment. The dissociation of sight and sound is inherently problematic for us. The quietest place on Earth is an anechoic chamber at Orfield Laboratories in Minnesota, USA. It is so quiet that the longest anybody has been able to experience it is just 45 minutes.

The simple fact is that there is always some ambient sound present in our lives. These ever‑present characteristics play a part in ambient music compositions.

Defining ambient music

Ambient music is a term that means, ‘a genre of instrumental music that focuses on patterns of sound rather than typical melodic form and is used to promote a certain atmosphere or state of mind’. Another definition is ‘incidental music intended to serve as an unobtrusive accompaniment to other activities and characterised by quiet and repetitive instrumental phrases’.

So far, so what? Useful background info but it doesn’t really mean much on its own. So let’s delve a bit deeper.


A brief pre‑history of ambient music

There is a significant amount of information on the hinterwebby thingummy about the history of the genre, so this is a brief retelling of the essential elements, starting in France, then Germany before crossing the Atlantic to America and then back to the UK. These unfolding events were probably all ahead‑of‑their‑time and in the vanguard of experimental art.

Let us begin by going all the way back to 1917. French composer Erik Satie (1866‑1925) used Dadaist‑inspired explorations to invent what he called musique d’ameublement (‘furniture music’ or, more literally, ‘furnishing music’), music played by live musicians and designed to be unconsciously experienced rather than consciously listened to. Satie described his compositions as music that could be performed at a function to create a background atmosphere for the function, rather than being the prime focus of it. In Satie’s words, his music would, “… be part of the noises of the environment”.

Satie’s use of repeated short compositions is said to have influenced ‘minimal music’ from 1960s onwards, particularly the experimental avant‑garde music of composer John Cage. Satie is also regarded as an essential forerunner to modern ambient music and a key influence on British artist, Brian Eno.

During the 1940s, Frenchman Pierre Schaeffer (1910‑1995) who was, amongst other things, a composer, engineer and musicologist took a different approach. Schaeffer experimented with recording sound, then processing the signals to create an abstract sound collage. The resulting sounds and tones were unrecognisable from the originating source material. Schaeffer used musical instruments, vocals, recorded environmental ‘sound objects’ and electronic sound synthesis. This type of music composition became known as musique concrète (concrete music).

Prolific and controversial German composer Karlheinz Stockhausen (1928‑2007) was a pioneer in electronic music. Stockhausen’s electronic music compositions comprised abstract noise collages created through the use of tape loops, oscillators and recorded sounds. He also specialised in ground breaking ‘spatial music’, using multiple sources to locate sounds within a three dimensional space (an early form of surround sound). Stockhausen created one of the first examples of purely electronic music using sine wave generators and filters, called ‘Studie I’ (1953). In 1954, he pushed the boundaries of classical music using acoustic instruments augmented by electronic sounds. The same year, he published the first fully electronic music score. Stockhausen, the so‑called ‘father of electronic music’, was an important figure who rejected conventions and heavily influenced multiple genres outside classical music, including jazz, pop and rock decades later.

Muzak is a type of background music created by American inventor George Owen Squier in 1934. Known commonly as elevator music (or lift music in the UK), it became used predominantly in public spaces, retail stores and other venues. The word muzak has become embedded in the public consciousness as synonymous with all types of generic and inconspicuous background music. Muzak was particularly prominent during the 1960s and 1970s. Muzak has been a registered trademark of Muzak LLC since 1954. Ambient by stealth?

From the 1950s, particularly in Germany, elektronische musik (electronic music) took precedence over previous forms such as musique concrète. The term ‘elektronische musik’ was first used by German composer and musicologist Herbert Eimert in 1952 to describe music created only by the use of electronic instruments and technology. As the genre developed, elements of musique concrète were incorporated into electronic music. Natural environmental recordings combined with music resurfaced later as a popular element of new age music. German electronic music heavily influenced krautrock, an experimental rock genre that emerged out of West Germany in the late 1960s and early 1970s with bands like Can and Neu!.

American composer John Cage was another influential figure in post‑war avant‑garde music including electroacoustic music. He had been experimenting with studio electronics since the late 1930s. In 1952, Cage ‘performed’ his now‑famous composition, 4′33″. The piece is not, as many believe, silence; it is the intentional ‘absence of deliberate sound’. The musicians do nothing but be on the stage with instruments. For the aforementioned duration of the piece, the audience is encouraged simply to listen to and experience the ambient sounds in the auditorium around them.

Minimal music is a form of art music that, as its name suggests, uses a very limited array of components to produce a composition. Minimal can apply to the instruments used, the sounds/tones produced, as well as the studio processes employed. Minimalism may comprise continuous drones, pulses or repetitive phrases. Minimalism emerged in New York in the late 1960s with American composers such as Philip Glass, Terry Riley, Steve Reich and La Monte Young. It has been suggested that minimalism was one influence behind experimental rock band The Velvet Underground during the 1960s and, much later, on electronic dance music (EDM) sub‑genres such as minimal techno. In 1990, British electronica duo The Orb used a sample from Steve Reich’s work on their hit single, ‘Little Fluffy Clouds’.

At this point, it is worth making quick mention of cinematic music, a.k.a. film scores or original soundtracks (OSTs). The first music to accompany film goes back to the earliest part of the 20th Century if not further, although its use really came into its own, ironically, with the advent of talking pictures in 1927. Cinematic music is composed specifically as a background to fit well with what is happening on screen by creating a certain atmosphere. Many classic theme music pieces would simply not exist without the films for which they were created. Some of the best cinematic music is an integral part of the audio‑visual experience, rather than the music being consciously listened to in isolation. The best soundtracks are equally good pieces of music in their own right and the art form has become highly respected (and profitable). John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, Bernard Herrmann, Lalo Schifrin, Vangelis, Jóhann Jóhannsson and Hans Zimmer are some of the principal cinematic music composers.

In the field of television, the BBC Radiophonic Workshop, set up in 1958, stands out for its experimental work in electronic incidental sound design and music for radio and TV. Key members of the unit included Delia Derbyshire, Daphne Oram and David Cain.


A brief history of electronic sound synthesis

It is probably true to say that synthesizers changed the world of music forever. Here’s a short resume of how that change came about. Warning! This is the techy bit.

Analogue synthesizers – The word synthesizer was first used by RCA in 1956, although it has widely been used to refer to electronic musical instruments from the early 20th Century onwards. Early electronic analogue sound synthesizers were developed in the 1920s and included the Theremin, invented by Leon Theremin in Russia in 1920, the Ondes Martenot, invented by Maurice Martenot in France in 1928 and the Trautnium, invented by Friedrich Trautwein in Germany in 1929.

There are basically only three parts to an analogue synthesizer; one or more oscillators to produce the sound, filters to change the sound, and voltage‑controlled amplifiers to adjust the volume of the sound. In addition, envelope generators are frequently used to change the behaviour of the sound (commonly referred to as ADSR – attack, sustain, delay, release).

Another major development in electronic sound synthesis was by American engineer Robert Moog (1934‑2005) who invented the first commercially available analogue synthesizer, the Moog Modular in 1964. The first fully integrated synthesizer, including the keyboard, was the Minimoog released in 1970. Moog developed his products in response to demand for more practical and affordable electronic musical instruments.

Moog Synthesizer

Samplers – A sampler is an electronic device that captures, records and plays back sections of the recordings. The first example was the Chamberlin, invented by American Harry Chamberlin in 1946. The British Mellotron, introduced in 1963, was perhaps the first famous electro‑mechanical instrument used to play back tape recorded sound samples.

Sequencers – A key factor in making music synthesizers usable was the introduction of the programmable sequencer to program and play back multi‑part arrangements. The first example was probably the analogue Buchla 100 synthesizer in 1964. More importantly, Moog introduced the Moog Modular Sequencer Module – the 960 Sequential Controller in 1968.

As synthesizers became more complex, additional features were added, such as arpeggiators that automatically play a sequence of notes based on a chord or scale, and a range of effects used to process the sound even further.

Digital synthesizers – The first digital synthesizer was made by Synclavier in 1977, while the first commercially successful model was made by Yamaha in 1983. The first production polyphonic synthesizer, able to play chords, was the analogue Oberheim Polyphonic Synthesizer, designed by Tom Oberheim, produced from 1975 to 1979. Yamaha, however, may disagree, citing their GX‑1 ‘Dream Machine’. These were followed shortly thereafter by the Polymoog. Another first was the programmable analogue Prophet 5 made by Sequential circuits in 1978. The culmination of these inventions was the introduction of the Fairlight CMI (standing for ‘Computer Musical Instrument’) in 1979, the first polyphonic digital synthesizer, sampler and sequencer.

Finally, polyphonic digital sound synthesis was here to stay, as was the studio recording technology able to exploit it. Miles away from ambient while owing a debt to it, Donna Summer’s massive disco hit single, ‘I Feel Love’ (1977), written and produced by Giorgio Moroder, was seen as a milestone and “a rejection of the intellectualization of the synthesizer in favour of pure pleasure”. It did, however, herald sound synthesis to the popular market. The phenomenal boom in synthpop during the 1980s, leading to the EDM boom of the 1990s, was the tangible result of lengthy electronic music development.

MIDI – MIDI (Musical Instrument Digital Interface) is a powerful industry standard protocol introduced in 1983 that enables wide variety of electronic musical instruments, computers, and audio devices to communicate. MIDI has become essential for synchronizing, playing, editing, and recording music.

These, and many other tools, were a valuable resource for the new generation of experimental composers and musicians. Everything was pretty much now in place.


A brief history of ambient music

Up to this point it is probably fair to say that elements of ambient music’s predecessors existed, and indeed thrived, on the periphery of the popular music of their time, rather than being front and centre of the mainstream. During the 1960s, that was about to change, albeit relatively slowly.

One interpretation of ambient music is that it is a style of calm, often electronic instrumental music with no discernible rhythm or beat, used to create or enhance mood or atmosphere. Ambient music emphasises tone and textural layers of sound that focus on the actual sounds being produced rather than the traditional musical form in which those sounds would normally reside. As such, ambient music may well intentionally eschew formal structured composition, harmony, melody and metre.

While now commonplace, ambient music, at least in the past, broke the rules of what we understand as familiar music or song content. Ambient music is not limited by accepted tropes of how it is produced, making use of acoustic and electronic musical instruments, unorthodox implements used as instruments, environmental sound recordings and sometimes vocals. A large proportion of ambient music is instrumental, not requiring narrative arrangement through either sung lyrics or spoken words.

One characteristic of ambient music since the 1990s has been the ubiquitous use of looping, creating repeated sections of sound, initially using tape and most commonly through digital effects. Another key trait has been the use of modern digital reverb and delay techniques to provide a sense of space, disconnection and otherworldliness.

One key element of ambient music is the way it can reward equally both passive and active listening. The listener can either focus on the content or allow ‘cognitive drift’ to occur, which can encourage a sense of calm, introspection or contemplation, meditation or as an aid to sleep.

While ambient music is a self‑contained genre, it does not stand alone; it has been incorporated into, or fused with, many other musical genres. This fact, in part, contributes to the debate about what ambient music actually means today and why it has become successful both artistically and commercially.

At last, getting to the point now… Ambient music as we now (think) we know it emerged in various forms during the 1960s and 1970s, largely thanks to the commercial availability of synthesizers. The album that is widely regarded as the watershed that brought ambient music to wider attention was, ‘Ambient 1: Music For Airports’ (1978) by British musician, producer and artist Brian Eno. This studio album also established the term ‘ambient music’ in the public mind set. Eno, either solo or in collaboration with other artists, released many subsequent ambient works, further defining the genre. By the early 1980s, the ‘new’ genre had become recognised and widely accepted. Eno has been oft‑quoted that “ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting”.

In 1995, Brian Eno used the term ‘generative music’ to describe any music created by a computer system that is ever‑different, non‑repeating and always changing. Eno has frequently used generative ambient music as a background for visual art installations, thereby creating an immersive audio visual experience. There are now a number of autonomous ambient music generators available on the Internet, such as Generative.fm, that provide completely unique compositions that never end, never repeat and last as long as the listener wants them to. The introduction of Artificial Intelligence (AI) into music is likely to expand the scope of generative music considerably.

A discrete subset of the genre is Japanese ambient pioneered by artists such as Hiroshi Yoshimura, Haruomi Hosono, Midori Takada, Osamu Sato and Susumu Yokota during the 1980s. The offshoot aligned with the Japanese concept of ‘wa’, meaning harmony and serenity. Japanese ambient was an expression of the deep cultural appreciation for nature, an aesthetic preference towards minimalism, and traditional values of maintaining peace.

Ambient has heavily influenced many sub‑genres of downtempo dance music, including ambient house, ambient techno, ambient dub, trip‑hop, nu‑jazz, new age, chillwave and deep house. Ambient has undoubtedly come a very long way from its avant‑garde artsy origins. Ambient was now cool and it was here to stay.

In recent years, ambient music has continued to evolve and expand. Some contemporary artists have incorporated elements of jazz, classical music, and other genres into their work, while others have experimented with new digital technologies such as AI and virtual or augmented reality to create new experiences. Improvisation and extemporisation have become integral elements of many ambient compositions.

Overall, ambient music has remained a vibrant and innovative genre that continues to explore the limits of what is possible in music. Perhaps, the essence of ambient music continues to flourish at the margins, requiring some effort to discover as the means of dissemination moves away from traditional record companies, labels, distributors and physical media. The Internet and streaming services may become the only means to access these esoteric future forms.

Ambient music’s experimental aspirations, though, have been an on‑going thorn in its side, which seems particularly hard to expunge. Partly because of its eclectic roots, many regard the lofty art & culture baggage of ambient as self‑absorbed, arrogant, sanctimonious, pompous and pretentious – or just plain dull and boring. Brian Eno in particular has attracted considerable scorn for refusing to conform to populist ideals and short‑term fads. The fact that he is not fazed by such clichéd criticisms and follows his own path regardless, encourages his opinionated detractors even further.

A predilection for ambient music is a choice, not a requisite and it doesn’t carry any cache amongst some imaginary elitist intellectual cultural community. It is, though, not for everyone, with many seeing ambient as a tedious interminable din. Indeed, if anything has been learned through the decades about ambient music is that its appeal is, at least partially, subliminal, nurturing our subconscious need for enlightened contemplation and therefore beyond our ability to control whether we appreciate it or not. Discuss…

Influential artists that have dabbled in ambient music either in part or whole include (in no particular order) Brian Eno, Aphex Twin, William Basinski, Steve Roach, Robert Rich, Pauline Oliveros, Cluster, Biosphere, Harold Budd, John Hassell, Max Richter, Tim Hecker, Terry Riley, William Orbit, Four Tet, Steve Hillage, Stars Of The Lid, Bonobo, Mark McGuire, Ash Ra Tempel, Alice Coltrane, Jon Hopkins, Edgar Froese, Oneohtrix Point Never, The Caretaker, Laurie Speigel, Tycho, GAS, Boards Of Canada, Burial, Fripp & Eno, Slowdive, Air, Julianna Barwick, A Winged Victory For The Sullen, Ben Chatwin, Richard Norris, Luke Abbott, The Cinematic Orchestra, Daniel Avery, Darshan Ambient, The Gentleman Losers, Ibizarre, A.M.P. Studio, Orbient, Nacho Sotomayor, Sigur Rós, Johnny Jewel, Bicep, Marconi Union, Memory Tapes, Neon Indian, Com Truise, The Orb, The KLF, Divination, Lawrence English and The Irresistible Force.


A brief history of other music genres related to (but not) ambient music

New age music –New age music emerged in the 1970s and 1980s, influenced by a variety of styles including classical music, jazz, world music, religious music, folk and rock. New age music often explores arcane folklore, ancient traditions, ethnic groupings, astrology, mythology, mysticism, spiritualism, fantasy and even the occult. Lacking any precise definition, it is often seen as an umbrella for many different and often divergent styles. Ambient and new‑age music are two distinct genres albeit with some overlap between them.

Starting with the similarities… New age music is a genre of music characterised by its soothing and relaxing qualities. It often features acoustic instruments such as flutes, harps, guitars and pianos, traditional Asian or African instruments as well as nature recordings and synthesizers. New‑age music is often used for relaxation, contemplation, yoga, massage, stress relief and anxiety management. As background music, it is used to create a calm, serene, peaceful atmosphere for other activities.

… and some key differences… Ambient music tends to be more experimental and abstract than new‑age music, with a greater emphasis on soundscapes and textures rather than rhythm, melody or harmony. New age music tends to be more melodic, structured and more easily accessible than ambient music.

Overall, both ambient and new age music are genres designed to create a sense of serenity in the listener (the ends). However, they go about achieving this goal in different ways (the means).

New age music has habitually been ridiculed (erroneously) for being part of hippie culture, with acolytes that embraced new age beliefs being called ‘zippies’. From the 1990s. Zippies were in favour of new age principles such as social change, environmentalism, and alternative lifestyles while also being influenced by rave culture, cyberculture, and psychedelic drugs.

New Age Travellers are a loose grouping of people primarily in the United Kingdom generally adopting new age beliefs along with the counter culture movement of the late 1960s. Their nomadic lifestyle often brought them into conflict with static communities and the authorities.

Prominent new age artists include Enigma, Enya, Deep Forest, Clannad, Gregorian, Phil Thornton, Patrick Kelly, Peter Gabriel, Bernward Koch, Paul Winter, Grouper, All About Eve and William Ackerman.

Nature recordings – Ambient nature sounds or, technically, field recordings are a popular sub‑genre of ambient music that feature environmental recordings such as the sounds of water, animals, thunderstorms, wind and even fire. The origins of combining natural sounds with musical compositions can be traced back to the early 20th century. Field recording is regarded by many as a genre in its own right, with or without music.

Field Recording

The use of field recordings in music became more widespread in the 1950s and 1960s with the advent of portable recording equipment and with digital recording from the 1980s. Musicians such as John Cage and Dan Gibson began using natural or built environmental sounds into their compositions.

The use of field recording in ambient music can be traced back to Brian Eno’s ‘Ambient 1: Music for Airports’, which featured recordings of airport terminal announcements and other environmental sounds. Since then, many ambient artists have incorporated field recordings to create captivating soundscapes that blur the line between music and environmental sound.

Some popular ambient nature sound artists include David Dunn, Chris Watson, Dan Gibson, Diane Hope, Lawrence English, Biosphere and Francisco López.

Downtempo and chillout music – Ambient music did not burst onto the scene overnight and, at least initially, it did not attract significant commercial success. With the popularity of EDM and the domination of house and techno in nightclubs, ambient experienced a mini‑revival towards the late 1980s with sub‑genres including ambient house, ambient trance, ambient techno and ambient dub. During the dance‑dominated 1990s, ambient music became trendy as an after‑party ‘comedown’ with the advent of ‘chillout rooms’; spaces within clubs that served as venues for a relaxing alternative to the high‑energy ‘rave rooms’.

Chillout is a form of downtempo music (or vice versa) characterised by relaxed rhythms, mellow beats, laid back grooves and atmospheric soundscapes intended to induce a tranquil mood – fertile ground for ambient music to proliferate. Chillout is heavily derived from EDM, but typically at slower tempos and with sonic palettes often reminiscent of ambient, electronic‑styled new age, progressive electronic and even elements of instrumental hip hop, dub, deep house and breakbeat.

However, neither chillout nor downtempo come under the definition of ambient, due to their prominent use of structure and rhythm. Sunset beach bars, restaurant venues and cult dance clubs in Ibiza in the 1990s jumped onto the ambient/downtempo/chillout bandwagon as an escape from the more intense side of life and a counterpoint to the hectic rave and acid house scenes of the time. In the UK, the Bristol trip hop scene also capitalised on the chillout boom.

The chillout zeitgeist during the late 1990s was partly due to a proliferation of commercial chillout compilation albums from record labels such as Ministry of Sound, Café del Mar, Café Mambo, Beyond Records, Kompakt Records and Mercury Records. Mainstreaming ultimately motivated underground producers to move away from chillout into other more adventurous leftfield ventures. By the early‑mid 2000s, popularity of chillout music faded heavily. However, it would see a revival in the 2010s and 2020s (so far), which aimed to recapture the spirit of earlier forms of the genre.

Ambient and downtempo/chillout and are not interchangeable, although the boundaries between them are often unclear. Downtempo and chillout would go on a different path to influence subsequent genres like psybient, psychedelic trance, chillwave, lounge, post rock, lo‑fi hip hop, hypnagogic pop and nu‑jazz.

Prominent downtempo and chillout artists include The KLF, The Orb, Thievery Corporation, Deep Dive Corp, East India Youth, The Album Leaf, Nightmares on Wax, Falco, Robert Miles, Morcheeba, Bowery Electric, Mr. Scruff, Tosca, Hallucinogen and Ultramarine.

Trip Hop – Trip hop is a genre of electronic music that emerged from downtempo/chillout in the early 1990s. Trip hop is characterized by its use of hip hop beats, samples, and dense atmospheric soundscapes, fusing influences from jazz, soul, funk, reggae, dub and R&B. Like other forms of electronic music, trip hop uses structure, melody and beats, differentiating it from ambient. The term trip hop was first used in an article in Mixmag magazine in 1994 about American artist and producer DJ Shadow. Trip hop music was popularised mainly by artists from Bristol in the UK such as Portishead, Massive Attack and Tricky. Trip hop further influenced genres like instrumental hip hop and UK garage.

Other artists that have made use of trip hop leanings include Sneaker Pimps, Aim, Howie B, The Dining Rooms, FKA Twigs, Glass Animals, Kosheen, Martina Topley‑Bird, Poliça, Smoke City, 9Lazy9, Bomb The Bass, Coldcut, Morcheeba, Pretty Lights, DJ Shadow, DJ Food, DJ Vadim, Funki Porcini, Gorillaz and London Grammar.

Electronica – Electronica is a massively broad term for music that uses electronic instrumentation and sound manipulation technology as the primary means of production. As such, it is a catch‑all for music that doesn’t slot easily into existing sub‑genres. In its widest sense, electronica is pervasive, directly or indirectly, in much of modern contemporary music. There is, therefore no point in defining it or attempting to establish its scope here.

Since the 1960s, electronica artists have both influenced and taken influence from many other music genres. The commercial breakthrough of electronic music occurred with the advent and subsequent domination of synthpop, Europop and Eurodance in the 1970s. This was followed by EDM sub‑genres such as house, techno and electro from the 1980s onward. The burst in electronic creativity was fuelled by a self‑perpetuating feedback loop, pushing things further in the popular mainstream as well as in the margins that continues to this day.

Some prominent artists under the diverse panoply of electronica include (again in no particular order) Clara Rockmore, Kraftwerk, Aphex Twin, Depeche Mode, Daft Punk, Kraftwerk, Röyksopp, Gary Numan, Japan, David Sylvian, Natural Snow Buildings, Global Communication, Moby, The Chemical Brothers, Orbital, Underworld, The Human League, Visage, Thomas Dolby, Howard Jones, Ultravox, Rick Wakeman, Jean‑Michel Jarre, Skrillex, Leftfield, Herbie Hancock, Electronic, Deadmau5, Fred Again.., Sven Väth, Major Lazer, Armin van Buuren, Sasha, Thom Yorke, Emerson Lake & Palmer (ELP), Daft Punk, Four Tet, Floating Points, Flying Lotus, Hot Chip, Pet Shop Boys, Fatboy Slim, The Prodigy, Giorgio Moroder, M83, Goldfrapp, Amon Tobin, Carl Cox, Crystal Castles, Infected Mushroom, Groove Armada, Eat Static, LCD Soundsystem, Faithless, Disclosure, System 7, 777, Erasure, Yazoo, Paul van Dyk, Eric Prydz, Heaven 17, Orchestral Manoeuvres In The Dark (OMD), Tears For Fears, Monaco, Bronski Beat, Vince Clarke, Eurhythmics, Thompson Twins, Yello, Squarepusher, Machinedrum, Pendulum, Romare, Calvin Harris, Apollo 440, Ladytron, MØ, Flume, Public Service Broadcasting, Solar Fields, The Grid, X‑Press 2, Arms And Sleepers, Caribou and ATB.


A brief history of ambient electronica (and related) artists

OK, so we’ve looked at some of the genres that have led up to the current day and the prevailing view of ambient music in context. Now, it’s time to take a brief look at some key artists involved along the way, whether they could strictly be considered proponents of ambient music or not. Here are some of the most prominent.

Tomita – Isao Tomita (1932‑2016) was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analogue synthesizer arrangements. Tomita is known for his electronic versions and adaptations of familiar classical music pieces as well as futuristic science‑fiction themes and trance‑like rhythms. Tomita received four Grammy Award nominations for his studio album based on music by classical composer Claude Debussy, ‘Snowflakes Are Dancing’ (1974). He also famously adapted Gustav Holst’s ‘The Planets’ (1976).

Wendy Carlos – Wendy Carlos (1939‑) is an American musician and composer born as Walter Carlos and transitioning to female gender in 1972. She is known for her pioneering electronic music and film scores. Carlos studied physics and music at Brown University before studying music composition at Columbia University in New York City. She helped in the development of Robert Moog’s first commercially available synthesizer. Carlos’ breakout release was Grammy Award‑winning ‘Switched‑On Bach’ (1968), an album of music by Johann Sebastian Bach performed entirely on synthesizer. Carlos went on to release further synthesized classical music adaptations, as well as experimental and ambient electronic music. She composed film scores for three major studio films, ‘A Clockwork Orange’ (1971), ‘The Shining’ (1980), and ‘Tron’ (1982).

Tangerine Dream – Tangerine Dream is a German band founded in 1967 by Edgar Froese (1944‑2015). The best‑known incarnation of the group was the mid‑1970s trio of Froese, Christopher Franke and Peter Baumann. Tangerine Dream is considered a pioneer in electronic, ambient and space music, a.k.a. kosmische musik (‘cosmic music’). Tangerine Dream were key members of the so‑called Berlin School of electronic music. Despite having released over one hundred albums over the years, they are best known for their use of synthesizers and sequencers, including milestone albums, Phaedra (1974) and Rubycon (1975). Tangerine Dream has also composed over sixty film soundtracks as well as the score for the video game Grand Theft Auto V. However, it is their mid‑1970s material that profoundly influenced the development of electronic music styles such as ambient, new age and EDM.

Klaus Schulze – German electronic music composer and musician Klaus Schulze (1947‑2022) is considered one of the pioneers of electronic music since the late 1960s. Schulze was an early member of the band Tangerine Dream before leaving to pursue a solo career in 1970. Schulze had a prolific career, releasing over sixty studio albums. Schulze’s music is known for its long, repetitive sequences and its use of analogue synthesizers. His early work was influenced by the psychedelic rock of the late 1960s and early 1970s, while his later work was more experimental and ambient. Schulze’s music has been used in films such as ‘The Exorcist’ (1973).

Brian Eno – English musician, composer, producer and artist Brian Eno (1948‑) has become synonymous with contemporary ambient music, pioneering and contributing to the ambient, electronica and minimalist drone genres. He started out in experimental rock, glam rock, art pop and art rock as former keyboard player with Roxy Music. Along with his extensive solo career, Eno has also collaborated on many side projects with other artists including Harold Budd, David Bowie, David Byrne, Fred Again.., Jon Hopkins and Cluster. Many of his collaborations explored beyond the scope of purist ambient music. He has also been prominent behind the studio desk producing many artists including John Cale, David Bowie, Jon Hassell, Laraaji, Talking Heads, Ultravox, Devo, U2, Coldplay, Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, James, Kevin Shields and Damon Albarn. In addition, Eno has composed a number of film scores. If that wasn’t enough, Eno has also worked prolifically in other media, including audio visual installations, art installations, film and as an author. As mentioned above, Eno pioneered the introduction and growth of generative music. A little known fact is that Eno also composed the six‑second music snip that accompanied the start‑up of the Windows 95 computer operating system, known as ‘The Microsoft Sound’. Love him or loathe him, Eno’s legacy is probably as far reaching as it is incalculable.

Brian Eno (courtesy of Cosciansky)

Kratwerk – German electronic band Kraftwerk was founded in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Kraftwerk is widely regarded as an innovator and pioneer of electronic music and was one of the first successful acts to popularise and commercialise the genre. The group began as part of West Germany’s experimental krautrock scene in the early 1970s before adopting electronic instruments for which they are best known, including synthesizers, drum machines, and vocoders. Their massive hit single and album, ‘Autobahn’ (1974) cemented their reputation. Kraftwerk inspired many artists including David Bowie, Joy Division, New Order, Daft Punk and LCD Soundsystem.

Jean‑Michel Jarre – Jean‑Michel Jarre (1948‑) is a French composer, musician and record producer. He is widely regarded as an innovator in electronic, ambient, new age and synthpop music. His breakout studio album, ‘Oxygene’ (1977) has become an electronica classic, selling over 18 million copies worldwide. Jarre’s musical style builds on the work of Tangerine Dream and adds a bit of populist French va‑va‑voom. He is famous for organising extravagant outdoor events involving laser light shows, visual projections and pyrotechnics to accompany his stage music. One of his concerts in Moscow, Russia in 1997 holds the world record for the largest audience for a single outdoor event, estimated at 3.5 million people.

The Orb – The Orb is an English electronic music group founded in 1988 by Alex Paterson and Jimmy Cauty. The duo began as ambient and dub DJs based in London before making the move into music production. The Orb is well known for their psychedelic ambient space sound. Over the years, The Orb has developed a cult following among clubbers ‘coming down’ from drug‑induced highs and, as such, their music became popular in club chillout rooms. Their influential debut studio album ‘The Orb’s Adventures Beyond The Ultraworld’ (1991) established the UK’s underground ambient house trend. The Orb’s second album, ‘U.F.Orb’ (1992) confirmed the band’s popularity and ensured their longevity. The Orb was influenced heavily by predecessors, Brian Eno and Kraftwerk. The Orb has maintained their signature science fiction aesthetic throughout their prolific career.

Amorphous Androgynous – British electronic music duo Amorphous Androgynous and its better known alter ego, The Future Sound of London (FSOL), was founded by Garry Cobain and Brian Dougans in 1988. The duo’s music is characterized by its psychedelic, ambient, and experimental sound. They acted as a bridge between the underground and well‑established electronic artists and has been influential in the development of electronic music genres such as ambient house, ambient dub and trip hop. They have released several albums, including ‘Tales of Ephidrina’ (1993) and ‘Lifeforms’ (1994).

Orbital – Orbital is an English electronic music duo founded by brothers Phil and Paul Hartnoll in 1989. The band has had on‑off periods of activity, breaking up and reforming on more than one occasion through the years. The band’s name is taken from the M25, London’s orbital motorway, which was key to the early (illegal) rave scene and (legal) acid house scene of the late 1980s and early 1990s. Orbital’s involvement with dance music has led to its strong reputation as a live band. They have mixed ambient sounds along with techno, trance, breakbeat and electronic rock styles. They have also been hugely influential in the development of modern electronic sub‑genres such as glitch, wonky and Intelligent Dance Music (IDM), as well as EDM.

The Chemical Brothers ‑ English electronic music duo The Chemical Brothers, originally known as The Dust Brothers, was formed in 1989 by Tom Rowlands and Ed Simons in Manchester, UK. Along with peers, The Prodigy and Fatboy Slim, they were pioneers in bringing the big beat, techno, house and EDM to popularity. Their breakout studio album, ‘Dig Your Own Hole’ (1997) rapidly became a rave classic. Like Orbital, they have become regular headliners on the festival and arena circuits. While their music is far from ambient, the origins are still evident and their enduring influence has also been widespread.


Contemporary music genres related to ambient

Here we are now, well into the 3rd decade of the 21st Century, so what position does ambient occupy now? Has it stagnated, frozen in aspic? Is it languishing in some obscure genre limbo? Or is it still evolving either on its own terms or in other ways? Let’s look at where ambient influences have led us and which may give a clue to where it might be going in the future. Here are eight of the most important modern‑day ambient spin‑offs.

Drone – Drone is a music genre that plays on long, sustained tones or repeated single notes. Unlike other genres that use drones as a component, drone music puts drones at the forefront, removing most melody and rhythm. As such, it bears many similarities to ambient. Drone music explores the changing timbre of individual sounds over time. For electronic drone, this is often achieved by slight fluctuations in the drone’s pitch, tone and amplitude.

The origins of drone, whether electronic or classical, are found in traditional music from across the world and date back to the 1940s with ‘Monotone Silence Symphony’ (1949) by Yves Klein. Drone developed through minimal music and through rock. Drone has seen a resurgence in the 2020s. Drone music has expanded to influence countless other genres, including ambient, EDM, drone metal and post‑rock.

Progressive Electronic – Progressive music in its widest sense generally attempts to expand existing stylistic boundaries associated with a specific genre of music. It also places emphasis on creating a sense of progression or development throughout a piece of music. Layered soundscapes, intricate changes in rhythm, a wide range of sound effects and textures are commonly used. Improvisation is also a key characteristic of progressive electronic music, as many musicians use improvisation to create new and inventive sounds rather than relying on pre‑recorded samples or synthesizer presets. Another important aspect is the use of lengthy, extended compositions, with tracks frequently having multiple sections and mood changes. Basically, progressive electronic covers a large proportion of electronic music from the late 1960s to the current day, including post rock. Is it a genre in itself? Make up your own mind.

Vaporwave – Vaporwave emerged in the early 2010s and is characterised by its use of synthesizers, slowed‑down samples and a great deal of studio manipulation including time shifting and cutting up of sound clips, then applying reverb, echo and other studio effects. The advent of computer‑based digital audio workstations (DAWs), such as Pro Tools, Logic Pro, Abelton and Cubase, greatly aided production and the Internet provided the means of distribution through platforms like YouTube, Bandcamp and SoundCloud.

Vaporwave got its name from ‘vaporware’, a term applied to computer hardware or software which is announced by a developer well in advance of release, but which then fails to emerge.

At first, vaporwave was a nostalgic reflection of the sounds of the 1980s and 1990s, drawing from popular music, contemporary R&B, smooth jazz and muzak, as well as from consumer culture, corporate logos, films, radio broadcasts and television commercials. Vaporwave has been described as a form of ‘post‑Internet’ electronic musical movement that reflects the fragmented and disorienting experience of living in the digital age.

The release of ‘Eccojams Vol. 1’ (2010) by Daniel Lopatin, under one of his aliases Chuck Person, is widely regarded as the foundation of vaporwave as a genre. The debut was followed ‘Floral Shoppe’ by Macintosh Plus and ‘Far Side Virtual’ by James Ferraro (both 2011), bringing greater visibility to vaporwave and its associated aesthetics. Despite this, vaporwave remains niche with tracks not readily available on physical media such as CDs or vinyl.

Like ‘pure’ ambient, vaporwave shuns structure and rhythm. The use of looping, glitching, pitch‑bending, panning, and echoing sound samples came to define the sound of vaporwave, giving the patchwork sound a hazy, surreal, dreamy and atmospheric quality with a focus on hyperreality. The vapor movement alludes to a disconnection or separation from reality presented through its original form.

In addition, vaporwave gave birth to a distinct aesthetic based on subcultures like cyberpunk, seapunk, manga and anime. Artist names, album titles and track listings often used uncommon symbols and Japanese script. In conjunction with the heavily manipulated and often intentionally degraded sound of vaporwave music, much of the genre’s artwork featured low‑grade image distortion or digital artefacts, bringing the limitations and flaws of past technology and positioning it within the broader post‑internet artistic landscape. The integration of the visual and the music elements can be interpreted as a criticism of consumer capitalism and hi‑tech culture.

Dreampunk – Dreampunk is an evolution of Vaporwave, also emerging in the mid‑2010s. Dreampunk artists wanting to experiment with more minimal and atmospheric compositions while, at the same time, distancing themselves from the nostalgic restrictions of the 1980s. The Internet record label, Dream Catalogue, helped popularize dreampunk within the vaporwave community as well as further afield.

The abstract, hypnotic, atmospheric soundscapes and repetitive structure of vaporwave is perhaps closer to ambient music, although the presence of rhythm differentiated it from its predecessor. This contributes to the dreamlike ethereal sound for which the genre is known. Dreampunk artists tend to seek anonymity, with many using several Internet aliases to create a sense of mystique around their music, hiding behind the aesthetic, often utilizing abstracted imagery of cityscapes, neon‑lit night scenes and incorporating futuristic dystopian and cyberpunk themes. Like vaporwave, dreampunk also uses Japanese scripts to further mystify their image. Classic dystopian and cyberpunk films such as ‘Blade Runner’ (1982) and ‘Ghost in the Shell’ (1995) also influenced and inspired the music genre. Both vaporwave and dreampunk continue to thrive in the underground.

Ambient, morphed through the lens of vaporwave and dreampunk, heavily influenced other genres such as hypnagogic pop, chillwave, VHS pop, witch house and slushwave.

Some popular vaporwave and dreampunk artists include Blue In Tokio, Fishmans, T e l e p a t h (テレパシー能力者), 2 8 1 4, Windows96, SkyTwoHigh and Lindsheaven Virtual Plaza.

Chillwave – Chillwave, a.k.a. glo‑fi, is an Internet genre that originated predominantly from the United States circa 2009. Chillwave, like vaporwave, looked back to the aesthetics and musical styles of the 1980s and 1990s, intentionally evoking a sense of nostalgic reflection. Chillwave melded analogue instruments with modern recording technologies and techniques to create a hazy dreamlike atmosphere. Chillwave appropriated elements of synthpop, funk, downtempo, EDM and alternative/indie genres like indie pop, neo‑psychedelia and synthwave.

Chillwave, vaporwave and dreampunk led to a great deal of fusion and crossover material, blurring the differences between them. Chillwave declined in popularity by the start of the 2020s but like many other genres, the end of chillwave may have been greatly exaggerated. Expect it to come back to the fore in due course. Chillwave’s influence would go on to play a part in genres such as cloud rap, alternative R&B, future bass, synthwave, ethereal wave and bedroom pop.

Prominent chillwave artists include Toro y Moi, Neon Indian, Washed Out, Memory Tapes, Flume, Com Truise, Tycho, Panda Bear, Lemon Jelly and Nite Jewel.

Intelligent Dance Music and its spin offs, glitch and wonky – Intelligent Dance Music (IDM) is a genre of electronic music that emerged in the early 1990s as a derivative (and rejection) of EDM. It is characterized by complex rhythms, intricate melodies, and a focus on sound design and experimentation. IDM artists often use unconventional time signatures, polyrhythms, glitches and de‑tuned sounds to create a unique listening experience. The genre is also known for its use of ambient textures and atmospheres, which can create a vague or otherworldly feel. IDM has been influential in the development of other electronic music genres such as ambient techno, and intelligent techno.

Some of the most well‑known IDM (and glitch/wonky) artists include Aphex Twin, Four Tet, Daniel Avery, Actress, Floating Points, Machinedrum, Moderat, Oneohtrix Point Never, Boards Of Canada, Mouse On Mars, Flying Lotus, LFO, Clark, Luke Vibert, Autechre and Squarepusher.

Dream pop – Deriving more from structured alternative and indie rock rather than ambient, dream pop uses reverb‑laden guitars, effects‑rich vocals, and dense studio production, to create a psychedelic, spacious, ethereal and surreal sound, albeit with a de‑emphasized beat accompanied by quiet, breathy harmonised vocals to elevate the music from its origins.

Dream pop is commonly fused with other genres such as shoegaze and noise pop, although dream pop does not solely depend on ‘walls of sound’, heavily distorted guitar layers or feedback. Dream pop relies heavily on modulation effects such as chorus, tremolo, vibrato, delay and reverb, to create mesmerising sonic textures. Dream pop bands often employ synthesizer layers to add atmosphere and lush soundscapes. Influences include slow core, post rock and trip hop.

In a similar way to shoegaze, vocals focus on melody and timbre, rather than lyricism. It is not uncommon for dream pop groups to have multiple vocalists to make good use of harmony and ‘instrumental’ vocals.

Prominent dream pop artists include Warpaint, 2:54, Lanterns of the Lake, Beach House, Cigarettes After Sex, The xx, Bat For Lashes, Low, Chromatics, Spiritualized, Julee Cruise, Broadcast, Zero 7, Phantogram, Yo La Tengo, Cocteau Twins, Dévics, Esben And The Witch, Pure Bathing Culture, School Of Seven Bells, His Name Is Alive, How To Dress Well, Lush, London Grammar and Mazzy Star.

Ambient dub – Ambient dub fuses ambient music with dub electronica. Ambient dub is a chillout fusion of ambient, dub reggae and future dub, featuring the atmosphere of the former and the Jamaican‑style basslines, percussion, and psychedelic production techniques of the latter. The name of the genre was coined by record label Beyond Records with a series of compilation albums of the same name, starting with, ‘Ambient Dub Volume 1: The Big Chill’ (1992). Many of the prominent artists within the genre also perform or mix in elements of dub techno, dubstep or ambient techno, which has led to some confusion over ambient dub’s actual sound. While the lines are indistinct between such electronic genres, ambient dub can genuinely be discerned by its denser atmospheres, a heavier use of reverb and/or delay, and an emphasis on bass akin to traditional dub, as well as reggae rhythms.

Notable ambient dub artists include: The Dub Syndicate, Bill Laswell, Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Transglobal Underground, Jon Hopkins, Jah Wobble, Mad Professor, Burnt Friedman, Deadbeat, The Bug, Solar Quest, Ladytron and Banco de Gaia.

Dark ambient – before we leave, it’s worth a quick mention about dark ambient, a.k.a. ambient industrial. While most ambient music creates a peaceful, welcoming and safe place, dark ambient is intended to disturb. Dark ambient emerged as a post‑industrial counterpoint to the wider ambient landscape. It is characterised by an ominous, brooding, eerie, sinister and overbearingly gloomy atmosphere, often with discordant overtones, dissonant timbres and lengthy drones. Dark ambient often crops up in film scores intended to unsettle the audience and create a sense of disorientation or suspense.

Dark ambient artists include Deathprod, Agalloch, David Lynch, Throbbing Gristle, Angelo Badalamenti, Nine Inch Nails, Trent Reznor, William Basinski, Blut Aus Nord, Mortiis, Cabaret Voltaire, Dolorian, NON, Controlled Bleeding, Earth, Jóhann Jóhannsson, Sunn O))) and Steven Wilson.

STOP! Enough already! I hear you cry. We are beginning to go down a bit of a proverbial rabbit hole here, so the short list that follows suggests other sub‑genres heavily influenced by ambient and its derivatives. These sub‑genres include black ambient, ritual ambient, space ambient, space music, ambient Americana, ambient house, ambient techno, ambient trance, psybient, psydub, minimalism, modern classical, ambient industrial, tribal ambient, pop ambient, dubstep and turntable music. Phew!


Key ambient+ albums:

As with my previous article on dub reggae, it would be remiss not to mention some of the key albums that have impressed over the years. Here are some predictable and some very unpredictable selections to showcase the vast expanse of electronic ambient music as it is today. As this article has hopefully shown, ambient isn’t a clearly defined pigeon hole with unbreakable rules but rather a constantly changing complex and diverse approach to experimental soundscapes. Hence this ‘top 20’ collection is more like ‘ambient+’ (as I call it; remember, you read it here first!), intended to demonstrate the ecosystem’s multiplicity. Another ‘desert island disc’ compendium to daydream about. Again, it was a difficult decision‑making process with many excellent works that didn’t make this particular cut. These albums are all classified as contemporary, i.e. 1975 to the current day.

  1. Aphex Twin – Selected Ambient Works 85‑92 (1993) and Vol. II (1994). Two seminal albums in the ambient genre that feature a mix of electronic and acoustic sounds. It is known for its dreamy, otherworldly soundscapes and has been described as ‘a journey through a strange and beautiful world’.
  2. Brian Eno – Ambient 1: Music For Airports (1978). Basically, the one that started it all. Essential listening for devotees of the ambient music genre. A starting point for the many great ambient works that followed and an entrée into Eno’s many other ambient works.
  3. Tangerine Dream – Rubycon (1975). Along with its predecessor, ‘Phaedra’ (1974), the pair stand out from the band’s extensive canon. The band had stopped using traditional instruments in its compositions and focused on analogue synthesizers and sequencers. Truly remarkable.
  4. Max Richter – Sleep (2015). Almost 8½ hours of sweet lilting lullaby, a transcendent, cinematic, post‑minimalist ambient album of gentle music intended to be experienced as much as it is to be listened to, awake or asleep (or, interestingly, in between – a phenomenon known as ‘eyelid movies’; what the mind conjures up when one is in the transitional state of near sleep).
  5. GAS – Pop (2000). A comforting, immersive experience and a lesson in how to make electronica sound organic and engrossing. Transcendent and transformative. A lysergic trip for your ears.
  6. Fripp & Eno – Evening Star (1975). Combining the talents of Brian Eno and Crimson King guitarist Robert Fripp. Good to see guitar making a contribution to ambient music.
  7. Four Tet – Rounds (2003). Not really ambient, more IDM and glitch. However, a disarmingly elegant stripped back intimate album. Perhaps, Kieran Hebdan’s landmark album.
  8. Boards Of Canada – Music Has The Right To Children (1998). Focusing on concepts of childhood nostalgia, created by the use of obscure samples and masterly manipulated layers of sound. The album has become rather essential listening along with ‘The Campfire Headphase’ (2005) and ‘Geogaddi (2002).
  9. Bonobo – Black Sands (2010). Lush, sumptuous and beguiling. Not ambient in a true sense but a great example of downtempo electronica from Simon Green. Also worth a listen is, ‘The North Borders’ (2013). Both also have excellent remix albums.
  10. The KLF – Chill Out (1990). A classic ambient album that features a mix of samples and original music. It’s known for its dreamy, atmospheric soundscapes and has been described as ‘a road movie in music form’.
  11. Stars Of The Lid – Tired Sounds Of Stars Of The Lid (2001). An album that features long, slow‑moving pieces that are built around drones and other ambient textures.
  12. Chromatics – Night Drive (2001) – More ambient pop, dream pop and synthwave than pure ambient. Chromatics’ ethereal style was featured by David Lynch in his surreal TV series, ‘Twin Peaks’.
  13. Burial – Untrue (2007). Enigmatic London‑based dubstep artist burst onto the scene with an album that is stark, blurred, eerie, tender and hauntingly evocative. A breath taking and inimitable event.
  14. William Basinski – The Disintegration Loops I‑IV (2002‑2003). Four albums that feature loops of decaying tape recordings. The music is haunting and melancholic, and has been described as ‘a meditation on loss and decay’. Dedicated to the victims of 9/11. Tape music entropy as it happens, captured for posterity.
  15. Tim Hecker – Radio Amor (2003). An album that features a mix of electronic and acoustic sounds, including guitar and piano. It’s known for its dense, layered soundscapes and has been described as ‘a beautiful, immersive experience’.
  16. Banco de Gaia – Last Train To Lhasa (1995). Along with its predecessor, ‘Maya’ (1994), it shows the approach of Toby Marks to progressive ambient electronica. Again, not really ambient but hugely influenced by it.
  17. Thievery Corporation – The Richest Man In Babylon (2000). Along with its remix EP, ‘Babylon Rewound’ (2004) it takes other influences including reggae and dub and brought it into the downtempo chillout world.
  18. The Higher Intelligence Agency – Freefloater (1995). British artist Bobby Bird started off running experimental electronic music nights in Birmingham. Ambient techno meets ambient dub meets ambient. Also worth a listen is, ‘Colourform’ (2010).
  19. Lindsheaven Virtual Plaza & SkyTwoHigh – Imaginary Pathways (2021). The final Internet album by Brazilian musician and producer, Cesar Alexandre before his untimely death due to covid. More dreampunk, ambient techno and downtempo with a hint of vaporwave rather than ambient. Blissful.
  20. The Gentleman Losers – The Gentleman Losers (2006). Finnish brothers that take a mix of ambient, post rock, lo‑fi, dreamlike slowcore and even a hint of Americana and blend it into a strange place where one isn’t certain of what is light and what is dark.
20 Ambient+ Studio Albums

In addition, referring back to ubiquitous compilation albums of the 1990s, one of the most significant events was ‘Ambient Dub Volumes 1‑4’ by various artists (1992‑1995) – A series of ambient dub compilation albums from Beyond Records that announced ambient dub to the world. The last of the four isn’t quite up to the first three but best seen as a whole. Another name check is for the annual ‘Pop Ambient’ compilations (2001‑) curated by Wolfgang Voigt, the man behind Kompakt Records and his nom de guerre GAS (see #5 above).


The future of ambient and ambient‑related music

The legacy of ambient music in all its facets has had a major impact on pretty much everything we listen to, even if we aren’t always aware of it. The question is, where is it going?

Ambient has exhibited somewhat of a resurgence in the early 2020s. Part of this renewed interest may be because of what is called multi‑sensory branding, where media events attempt to evoke memories through stimulation of all the senses. Another reason may be the rediscovery of obscure Japanese ambient music, as well as an interest in previously experimental, niche or underground music now garnering mainstream recognition. Streaming services make accessing unconventional music much easier. In addition, the growth of interest in mindfulness and mental health & wellbeing as a ‘cure’ for stress and anxiety caused by an increasingly frenetic and unpredictable world has reinforced the search for aids to relaxation, introspection and contemplation.

One thing we’ve learnt from this escapade is that ambient and ambient+ (or whatever else you want to call it) has been pushing the boundaries ever since the start of the 20th Century. If nothing else, it will continue to explore the outer limits while influencing the mainstream.

Probably the most significant tool in the future of ambient electronica won’t even involve human beings or actual instruments! AI will make significant inroads into generative music. Ultimately, though, this is likely to be a bit of a creative dead end. The drawback of AI is that it can only learn from what has come before it, it lacks the imagination and inventiveness of the human mind. At some point, AI generated ambient will become stale and derivative and human creativity will, once again be needed to bring spontaneity and unpredictability back to front and centre of music. Go People!

Given the inherent limitations of traditional musical instruments, electronic music may, arguably, have the greatest potential for innovation and creativity. One can only imagine the possibilities yet to be explored.

While many critics view electronica as soulless, cold and inert, it is sure to develop the ability to elicit more organic, fluid emotional responses. Many artists are looking backwards to analogue instruments and production techniques to add warmth and to create beauty out of its inherent imperfections.

Genre developments can only surprise once before they become part of the historical mosaic. One possible future is that ambient reaches a point where it becomes sterile and disposable. One might envisage it derided in the way that elevator muzak has become. Arguably, a proportion of current‑day throwaway popular music is already demonstrating that bleak possibility with anything new ultimately being short‑lived around the periphery before being subsumed into universal, amorphous homogeneity.

How we will be listening to music is another factor. If music becomes more clichéd, contrived and derivative, it will become more and more dismissible, fading into the background environment. However, isn’t that exactly what Erik Satie intentionally started with back in 1917?

For some, like the author, ambient resonates with the psyche on both a subconscious and conscious level. Others, meanwhile, may find the genre melancholic or even highly irritating. Ultimately, like all music preferences, it is partly a deliberate decision and partly predetermined in some obscure way.

Personally, I have confidence that people who appreciate ‘real’ music and have a passion for creating and performing it that will perpetuate this idiosyncratic form of music into a healthy future. Once again, discuss…


Tailpiece

So… there you have it. Another lengthy (apologies) delve into a relatively narrow niche of the wondrous world of music. Back to the real world, sadly. I cannot write about things that I don’t have some sort of fascination with. Having said that, these ambient+ genres are not exclusive listening. However, they can be just the ticket when one feels like some chillaxing, escaping from reality or as an antidote to insomnia.

Why do I dig ambient and electronic ambient+ music? It just resonates with me, It creates a welcoming oasis of contemplative calm away from a crazily intense ‘real’ world and it is somewhere to go that isn’t, well, here. Nothing profound, transcendent or conceited. See you in The Matrix soon.

I have no idea what’s up next, so it will come as much of a surprise to me as it will to you. Thoughts on a postcard please.

Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If you could literally have the world, what, exactly, would you do with it?”

© 2023 CRAVE Guitars – Love Vintage Guitars.

Like it? Why not share it?

January 2020 – The Story of Modern Music in 1,500+ Facts – Part X

posted in: History, Introduction, Observations | 0

Introduction

Well, here we are once again. Welcome to 2020 one and all – a new year and a new decade, well, sort of. After the temporary intermission last month for the obligatory 2019 end‑of‑year roundup, we’re back on the trail ‘History of Modern Music…’ Cast your mind back for a moment. In more than one way, 1650 and the end of the Renaissance, where this story began seems a long, long time ago now. It struck me during the brief interlude just what a conceivably Sisyphean labour it has become, and there is still quite a bit of fun and games to be played out. Getting straight back into the proverbial saddle, Part X of the story is now rounding up the stragglers from the 20th Century and riding into the dawn of the new millennium with all its first world promises and disappointments.

If you would like to (re)visit the first 9 parts (and 350 years) of the story to‑date, you can do so here (each link opens a new browser tab):

Right, now the prelude is over, let’s get into the groove of the shiny new millennium, starting at 2000 and finishing this month at the end of 2009…

The Story of Modern Music Part X 2000-2009

Without the benefit of lengthy hindsight, the question is, how best to describe early 21st Century music? Arguably, the most notable trend of the noughties was the rise in popularity of indie music standing proud and in stark contrast to the seemingly indomitable, yet strangely bland, soulless and non‑descript merchandise of the commercial pop music industry.

Sadly, time and circumstances resulted in many prominent departures during the decade, adding a touch of pathos among the many achievements. While lost to us, at least we still have their music to appreciate.

In the absence of any particularly significant defining characteristics, perhaps it is best to let the facts speak for themselves. Before we get there, though, it is important to set the turbulent global context within which the musical styles of the new age progressed. Although shorter in content than previous decades, the ‘noughties’, and consequently, the ‘teenies’, will still get their own discrete article.

Historical Context 2000-2009

The opening decade of the 2000s has many popular names, one of which is simply, ‘the noughties’. The widely recognised formal name for the first decade of a new century is the less common, ‘the aughts’. Despite the unbridled optimism for the new millennium, the ‘00s heralded a fractious decade during which terrorism and the rise of dangerous radical Islamic ideologies would dominate international relations and drive brutal armed conflict in many territories. An unsustainable rise in living standards and avaricious materialism during the first half of the decade precipitated another inevitable major ‘boom and bust’ event fuelled by rabid financial mismanagement and, ultimately, greed. The result was the most devastating global recession to hit ordinary people since the 1930s in terms of both impact and longevity. Depression drove increasingly profound social, health and wealth divisions between the richest few percent and the vast majority. The digital revolution boomed and the unbridled growth of the Internet facilitated the promise of global democratisation of knowledge and information, while also enabling massive levels of ‘social’ drivel and inanity. There was a continued expansion in environmental lobbying and ‘green’ industries aiming to tackle the impending and still controversial threat of the ‘greenhouse effect’ on the planet’s fragile ecosystem.

Year

Global Events

2000

An Air France Concorde airliner crashed shortly after take‑off in France, killing 113 people, leading to the suspension of the fleet and effectively ending the era of supersonic passenger flights.

 

The first stage of the world’s largest collaborative biological project, the Human Genome Project was completed, documenting an initial rough draft of the base pairs that make up human DNA.

2001

Republican politician George W. Bush became the 43rd president of the U.S.A. Bush Junior was the son of George H.W. Bush who was the 41st president.

 

Members of the Islamic terrorist group al-Qaeda hijacked and crashed two airliners into the World Trade Center in Manhattan, New York City. A third plane was crashed into the U.S. Department of Defense HQ, the Pentagon in Virginia. A fourth aircraft crashed in Shanksville, Pennsylvania after passengers overpowered the hijackers. The co‑ordinated attacks of 9/11 killed almost 3,000 people.

 

America, supported by its allies, invaded Afghanistan following the unprecedented 9/11 terrorist attacks on the U.S.A. with the intention of dismantling the threat of Islamic terrorist organisation al‑Qaeda at its source.

2002

The Euro was officially introduced in the Eurozone countries, after which the former currencies of those countries ceased to be legal tender.

 

Queen Elizabeth, The Queen Mother of the UK monarchy and the wife of King George VI, died. Her funeral took place at Westminster Abbey in London.

 

The Severe Acute Respiratory Syndrome coronavirus (SARS CoV) outbreak emanated in southern China and the subsequent epidemic caused a global public health crisis.

2003

America and Britain, supported by allies, invaded Iraq to remove the threat of alleged weapons of mass destruction (WMD) and to depose the country’s dictator and head of state, Saddam Hussain.

 

The first successful global social networking website, Myspace was founded by Americans Chris DeWolfe and Tom Anderson, based in Beverly Hills, California. Myspace was overtaken in popularity by rival Facebook in 2008 and, while still in existence, usage has declined significantly.

 

American Space Shuttle Columbia disintegrated during re‑entry to the Earth’s atmosphere, killing all seven astronauts aboard.

2004

The global Internet‑based social media networking web site Facebook was created by American entrepreneur Mark Zuckerberg, based in Menlo Park, California. Facebook has approximately 2.5billion active users.

 

The European Union (EU) expanded by 10 new member states – Poland, Lithuania, Latvia, Estonia, the Czech Republic, Slovakia, Slovenia, Hungary, Malta and Cyprus.

 

A massive 9.3 magnitude earthquake and tsunami in the Indian Ocean near Sumatra killed over 200,000 people.

 

The tallest skyscraper in the world, Taipei 101, at a height of 1,670 feet (510m) opened in Taipei, Taiwan. It was overtaken by the completion of the Burj Khalifa in Dubai in 2010.

2005

The video sharing web site, YouTube was launched. The platform was created by Chad Hurley, Steve Chen, and Jawed Karim, based in San Bruno, California. YouTube is currently owned by technology giant, Google.

 

Polish head of the Catholic Church and sovereign of the Vatican City, Pope John Paul II died. He was succeeded by German national, Pope Benedict XVI.

 

Category 5 Hurricane Katrina devastated the city of New Orleans, Louisiana, U.S.A., killing over 1,800 people and causing billions of dollars’ worth of damage.

2006

Indian Islamic terrorists detonated seven bombs on trains in the city of Mumbai, India, killing more than 200 people.

 

Discovered in 1930, Pluto was demoted from planet status and was re‑designated the largest known dwarf planet in the Kuiper belt. Caltech researcher Mike Brown led the team that led to the declassification.

 

Former president of Iraq, Saddam Hussein was tried and convicted by an Iraqi Special Tribunal and was executed by hanging for crimes against humanity.

2007

Three-year old English girl Madeleine McCann disappeared from the holiday resort of Praia da Luz in the Algarve region of Portugal. She remains missing despite massive media coverage.

 

Technology giant Apple Inc. launched the game‑changing touch screen mobile telephone, the iPhone.

 

The Global Financial Crisis began, caused by poor regulation resulted in the failure of a number of large financial and banking institutions. The severe worldwide economic downturn, known as the Great Recession, was the worst since the Great Depression of the 1930s. The economic impact of the slump lasted for more than a decade.

2008

In physics, the Large Hadron Collider particle accelerator used to detect the presence of sub‑atomic particles was completed by CERN near Geneva in Switzerland. The pioneering science project became fully operational in 2010.

 

Pakistani Islamic terrorists carried out a series of 12 attacks over 4 days in Mumbai, India, killing almost 175 people.

2009

The decentralised digital cryptocurrency Bitcoin was established by pseudonymous Japanese creator Satoshi Nakamoto.

 

Democrat politician Barack Obama became the 44th president of the U.S.A. and was the first African‑American to be elected to the presidency.

Musical Genre Development 2000-2009

The pop music machine sustained commercial success well into the 21st Century. Large record companies continued to focus resources on the lucrative tween and teen audiences with artists such as Avril Lavigne, Miley Cyrus, Justin Bieber, Rihanna, Chris Brown, Usher, P!nk, Beyoncé, Lady Gaga and Katy Perry. Also popular were manufactured groups such as Destiny’s Child, Sugababes, Pussycat Dolls, One Direction, 5 Seconds Of Summer and Little Mix. Country music saw another revival with artists like Shania Twain, Taylor Swift, Faith Hill, Keith Urban and Carrie Underwood achieving notable success. Soul (nu‑soul) also saw a resurgence of interest, including performers like Joss Stone, Natasha Bedingfield, Corinne Bailey Rae, Estelle, Amy Winehouse, Adele and Duffy. Hip‑hop broadened out into contemporary R&B and claimed the resurgent urban music territory with artists such as Jay‑Z, Kanye West, Ludacris and 50 Cent building on the popularity of Dr Dre, Eminem and N.W.A.

Indie (rock) music had its origins in the 1970s as a ‘catch‑all’ umbrella term for artists who produced music through independent record labels rather than the large record companies and their subsidiaries. A new breed of bands began to emerge, aided by Internet exposure, coalescing into the indie rock movement on both sides of the Atlantic Ocean. Emerging rock bands came into their own and reasserted their independence through a rejection of (and by) the structured studio system. One constant characteristic of indie music is the rejuvenated dominance of the electric guitar within a band format. Indie music originated from the punk, alternative and grunge genres of previous decades and represents a very diverse range of musical approaches including dream pop, shoegaze, indie pop, indie dance, garage rock, indietronica, chillwave, hypnagogic pop, lo‑fi, etc. To reflect this diversity, there is a long list of indie artists from varying sub‑genres to give an indication of its broad appeal, including (in no particular order); My Bloody Valentine, Arctic Monkeys, The Jesus & Mary Chain, Eels, Low, The Zutons, Interpol, Charlatans, Slowdive, Ride, Primal Scream, PJ Harvey, The Strokes, The White Stripes, The Hives, The Vines, Snow Patrol, Keane, Pavement, Spiritualized, Blood Red Shoes, The Cribs, Sleater‑Kinney, The Libertines, Franz Ferdinand, Razorlight, Editors, Kasabian, Kings Of Leon, LCD Soundsystem, Crystal Castles, Arcade Fire, Yeah Yeah Yeahs, Paramore, Belle & Sebastian, The Shins, The Kooks, The Killers, The Fratellis, Vampire Weekend, Bombay Bicycle Club, The Black Keys, Black Rebel Motorcycle Club, Modest Mouse, Ariel Pink, My Chemical Romance, Weezer, Death Cab for Cutie, White Lies, Two Door Cinema Club and War On Drugs amongst many others. The sheer volume of artists and material led to the term ‘indie landfill’ used to describe generic and derivative music exploiting indie music credentials.

Musical Facts 2000-2009

Day

Month

Year

Music Fact

6

March

2000

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2000’ including Eric Clapton, Earth Wind & Fire, The Lovin’ Spoonful, Bonnie Raitt, James Taylor, Nat ‘King’ Cole, Billie Holiday and Scotty Moore.

27

March

2000

English punk singer, songwriter and poet, Ian Dury died from cancer in London at the age of 57.

23

May

2000

American hip hop artist Eminem released his classic 3nd studio album, ‘The Marshall Mathers LP’.

20

June

2000

American blues/rock duo The White Stripes released their 2nd studio album, ‘De Stijl’.

2

October

2000

English alternative rock band Radiohead changed stylistic direction when they released their 4th studio album, ‘Kid A’.

9

October

2000

English alternative rock band Placebo released their 3rd studio album, ‘Black Market Music’.

5

December

2000

American political rap rock band, Rage Against The Machine released their 4th and, to‑date, final studio album, ‘Renegades’.

8

December

2000

English bass guitarist, singer, songwriter and former member of rock band The Police, Sting received a star on the Hollywood Walk of Fame at 6834 Hollywood Boulevard.

18

December

2000

English singer and songwriter Kirsty MacColl was killed tragically in a boating incident while on holiday in Cozumel, Quintana Roo, Mexico at the age of 41.

20

December

2000

Long-running UK music magazine ‘Melody Maker’ published its final issue. It had run for over 74 years since January 1926. Melody Maker was merged with rival music paper, New Musical Express (NME).

6

March

2001

Jamaican reggae legend Bob Marley received a posthumous Star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.

19

March

2001

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2001’ including Aerosmith, Solomon Burke, the Flamingos, Michael Jackson, Queen, Paul Simon, Steely Dan, Ritchie Valens and James Burton.

20

March

2001

Renowned Northern Irish blues/rock guitarist, Gary Moore released his classic 15th studio album, ‘Back To The Blues’ in the UK.

2

April

2001

German industrial heavy metal rock band Rammstein released their top-selling 3rd studio album, ‘Mutter’ (translated as Mother).

3

April

2001

American indie rock band Black Rebel Motorcycle Club released their debut studio album, ‘B.R.M.C.’.

10

April

2001

Indie rock giants, Nick Cave & The Bad Seeds released their 11th studio album, ‘No More Shall We Part’.

4

June

2001

English alternative rock band Radiohead released their classic 5th studio album, ‘Amnesiac’ in the UK.

18

June

2001

English alternative rock band Muse released their breakout 2nd studio album, ‘Origin of Symmetry’.

30

June

2001

American guitarist, nicknamed the ‘Country Gentleman’, Chet Atkins died from cancer at his home in Nashville, Tennessee at the age of 77.

3

July

2001

American blues/rock duo The White Stripes released their 3rd studio album, ‘White Blood Cells’.

18

July

2001

American hard rock band KISS introduced a unique, if somewhat sinister, item of brand merchandise, a burial coffin humorously known as the ‘KISS Kasket’.

27

July

2001

American bass guitarist with southern rock band Lynyrd Skynyrd, Leon Wilkeson died of chronic liver and lung disease in Ponte Vedra Beach, Florida at the age of 49.

30

July

2001

Emerging American indie rock band The Strokes released their classic debut album, ‘Is This It’.

18

September

2001

American alternative/indie rock band Wilco released their classic 4th studio album, ‘Yankee Hotel Foxtrot’.

23

October

2001

American technology giant Apple Inc. introduced the first iPod solid state portable media player, linked to the iTunes media storage library.

29

November

2001

English former member of The Beatles, George Harrison died of cancer in Los Angeles, California at the age of 58.

16

December

2001

Scottish guitarist and singer with punk rock band Skids and then Big Country, Stuart Adamson committed suicide in Honolulu, Hawaii at the age of 43.

5

March

2002

MTV broadcast the first episode of their reality TV show ‘The Osbournes’, featuring a portrayal of the Black Sabbath singer Ozzy Osbourne’s family life.

18

March

2002

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2002’ including Isaac Hayes, Brenda Lee, Tom Petty and the Heartbreakers, Gene Pitney, Ramones, Talking Heads and Chet Atkins.

26

March

2002

British heavy metal rock band, Iron Maiden released their massive live concert album, ‘Rock In Rio’.

12

April

2002

English heavy metal singer with Black Sabbath and TV reality show celebrity, Ozzy Osbourne received a star on the Hollywood Walk of Fame at 6780 Hollywood Boulevard.

14

May

2002

Award-winning American singer, songwriter, guitarist, electronica musician and producer Moby released his commercially successful 6th studio album, ‘18’.

5

June

2002

American bass guitarist Dee Dee Ramone of punk rock band Ramones died from a heroin drug overdose at his home in Hollywood, California at the age of 50.

27

June

2002

English bass guitarist with rock band The Who, John Entwistle, nicknamed ‘The Ox’, died of a cocaine‑related heart attack in a Hard Rock hotel room in Paradise, Nevada at the age of 57.

27

August

2002

American rock band Queens Of The Stone Age released their classic 3rd studio album, ‘Songs For The Deaf’.

24

September

2002

American alternative rock artist, Beck released his introspective and highly underrated 8th studio album, ‘Sea Change’.

14

October

2002

English indie rock band The Libertines released their successful debut studio album, ‘Up The Bracket’.

18

October

2002

English pop/rock band Queen received a star on the Hollywood Walk of Fame at 6356 Hollywood Boulevard.

27

October

2002

Highly renowned American record producer who worked for Atlantic Records, Tom Dowd died of emphysema in Aventura, Florida at the age of 77.

3

November

2002

Scottish singer and guitarist, crowned the ‘King of Skiffle’, Lonnie Donegan died of a heart attack in Market Deeping, Lincolnshire at the age of 71.

22

December

2002

English singer, songwriter and guitarist, Joe Strummer of punk rock band The Clash died from a congenital heart defect at his home in Somerset, UK at the age of 50.

30

December

2002

The funeral of English guitarist, singer and songwriter with punk rock band The Clash, Joe Strummer took place in London, UK.

3

February

2003

Famous American ‘wall of sound’ record producer, Phil Spector murdered actress Lana Clarkson in his California Alhambra mansion.

10

February

2003

English trip-hop group, Massive Attack released their underrated 4th studio album, ‘100th Window’ in the UK.

10

March

2003

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2003’ including AC/DC, The Clash, Elvis Costello & The Attractions, The Police, The Righteous Brothers and Floyd Cramer.

1

April

2003

American blues/rock duo The White Stripes released their highly regarded 4th studio album, ‘Elephant’.

1

April

2003

English alternative rock band Placebo released their 4th studio album, ‘Sleeping With Ghosts’.

18

April

2003

Legendary American blues/R&B, soul and jazz singer Etta James received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.

11

May

2003

English bass guitarist with The Jimi Hendrix Experience, Noel Redding died of liver disease in Clonakilty, County Cork, Ireland at the age of 57.

15

May

2003

American country music singer and wife of Johnny Cash, June Carter Cash died following heart surgery in Nashville, Tennessee at the age of 73.

30

May

2003

Successful English record producer behind many massive chart hits, Mickie Most died from abdominal cancer at his home in London at the age of 64.

9

June

2003

Acclaimed English alternative rock band Radiohead released their 6th studio album, ‘Hail To The Thief’.

13

June

2003

English guitarist, singer, songwriter and former member of progressive rock band Pink Floyd, David Gilmour was awarded a CBE by Her Majesty the Queen.

30

July

2003

Legendary American record producer Sam Phillips, founder of Sun Records and the man responsible for signing Elvis Presley, Jerry Lee Lewis, Roy Orbison and Johnny Cash, died of respiratory failure in Memphis Tennessee at the age of 80.

25

August

2003

American indie rock band Black Rebel Motorcycle Club released their 2nd studio album, ‘Take Them On, On Your Own’.

12

September

2003

Less than 4 months after his wife passed away, American country legend Johnny Cash died of complications caused by diabetes in Nashville at the age of 71.

26

September

2003

English singer, songwriter, musician, solo artist and former member of the pop rock band Power Station, Robert Palmer died of a heart attack in a hotel room in Paris, France at the age of 54.

29

September

2003

English alternative rock band Muse released their successful 3nd studio album, ‘Absolution’.

12

December

2003

English singer and songwriter with The Rolling Stones, Mick Jagger received a knighthood from HRH Prince Charles at Buckingham Palace.

9

February

2004

English indie rock band Franz Ferdinand released their successful debut studio album, the self-titled ‘Franz Ferdinand’.

15

March

2004

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2004’ including Jackson Browne, George Harrison, Prince, Bob Seger, Traffic and ZZ Top.

6

May

2004

American virtuoso jazz guitarist and session musician with The Wrecking Crew, Barney Kessel died from a brain tumour at his home in San Diego, California at the age of 80.

10

June

2004

American singer, songwriter, musician, and composer Ray Charles died from complications as a result of acute liver disease at his home in Beverly Hills, California at the age of 73.

15

June

2004

Emerging American rock band The Killers released their hugely successful debut studio album, ‘Hot Fuss’.

23

June

2004

American folk/rock singer, songwriter and guitarist, Bob Dylan was made ‘Doctor of Music’ at St. Andrews University in Scotland, UK.

24

June

2004

Exactly 5 years after his first sale, English blues/rock guitarist, Eric Clapton auctioned many of his guitars in New York City. Together, the two auctions raised $11 million for the Crossroads Centre he founded in Antigua, a residential treatment centre for alcohol and chemical dependencies.

21

July

2004

American music composer, Jerry Goldsmith, famous for his many TV and film scores, died from cancer in Beverley Hills, California at the age of 75.

30

August

2004

English indie rock band The Libertines released their successful eponymous 2nd studio album, ‘The Libertines’.

6

September

2004

English indie rock band Kasabian released their classic self-titled debut studio album, ‘Kasabian’.

9

September

2004

Successful American guitar and musical equipment entrepreneur and businessman, Ernie Ball died in San Luis Obispo, California at the age of 74.

15

September

2004

American guitarist and songwriter with punk rock band Ramones, Johnny Ramone died of prostate cancer at his home in Los Angeles, California at the age of 56.

20

September

2004

Indie/alternative rock giants, Nick Cave & The Bad Seeds released their epic 13th double studio album, ‘Abattoir Blues / The Lyre of Orpheus’.

21

September

2004

American post-punk rock band Green Day released their top-selling 7th studio album, ‘American Idiot’ in the U.S.

27

September

2004

German industrial heavy metal band Rammstein released their 4th studio album, ‘Reise, Reise’ (roughly translated as ‘Arise, Arise’).

25

October

2004

Highly acclaimed English DJ and BBC radio presenter, John Peel died from a heart attack while working on holiday in Cusco, Peru at the age of 65.

1

November

2004

American rock band Kings of Leon released their commercially successful 4th studio album, ‘Only By The Night’ in the UK (22 February 2005 in the US).

3

November

2004

English blues/rock guitarist, singer and songwriter, Eric Clapton received a CBE from the Princess Royal at Buckingham Palace in London for his services to music.

8

December

2004

American guitarist, ‘Dimebag’ Darrell Abbott, co-founder of heavy metal bands Pantera and Damageplan was murdered while performing on stage in Columbus, Ohio at the age of 38.

14

December

2004

The funeral of American guitarist with heavy rock bands Pantera and Damageplan, ‘Dimebag’ Darrell Abbott, took place in Arlington, Texas.

10

February

2005

English singer with The Who, Roger Daltrey was awarded a CBE by HM The Queen at Buckingham Palace.

14

March

2005

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2005’ including Buddy Guy, The O’Jays, The Pretenders, Percy Sledge and U2.

22

March

2005

American alternative rock band Queens Of The Stone Age released their 4th studio album ‘Lullabies to Paralyze’.

11

June

2005

Two English rock guitarists were rewarded for their contributions to music in the Queen’s Birthday Honours. Jimmy Page of Led Zeppelin was awarded an OBE and Brian May of Queen a CBE.

22

August

2005

American indie rock band Black Rebel Motorcycle Club released their 3rd studio album, ‘Howl’.

30

August

2005

American indie rock band Death Cab For Cutie released their 5th studio album, ‘Plans’.

1

September

2005

American blues singer, songwriter and guitarist R.L. Burnside died of heart disease in a hospital in Memphis, Tennessee at the age of 78.

4

September

2005

The major feature film chronicling the life of country legend Johnny Cash, ‘Walk The Line’, starring Joaquin Phoenix and Reese Witherspoon, directed by James Mangold, was released in the USA.

10

September

2005

American guitarist and Blues Hall of Famer, Clarence ‘Gatemouth’ Brown died from cancer in Orange, Texas at the age of 81.

5

November

2005

Influential American rock ‘n’ roll guitarist Link Wray died of heart failure at his home in Copenhagen, Denmark at the age of 76.

23

January

2006

English indie rock sensation, Arctic Monkeys released their debut studio album, ‘Whatever People Say I Am, That’s What I’m Not’.

13

March

2006

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2006’ including Black Sabbath, Blondie, Miles Davis, Lynyrd Skynyrd, Sex Pistols and Herb Alpert.

7

July

2006

English guitarist, songwriter and founder of progressive rock band Pink Floyd, Syd Barrett died of pancreatic cancer at his home in Cambridge at the age of 60.

25

July

2005

British indie rock band Editors released their debut studio album, ‘The Back Room’ in the UK.

30

July

2006

Popular weekly UK music chart TV programme ‘Top Of The Pops’ (TOTP) was broadcast by the BBC for the final time, after running for 42 years.

28

August

2006

English indie rock band Kasabian released their classic 2nd studio album, ‘Empire’.

15

October

2006

After American singer Patti Smith finished her live set at New York City’s famous punk rock music venue CBGB & OMFUG, the club finally closed its doors for good, following a rent dispute and thereby ending an era.

25

December

2006

Legendary American singer and the ‘Godfather of Soul’, James Brown died of pneumonia in Atlanta, Georgia at the age of 73.

28

February

2007

American rock band The Doors received a star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.

12

March

2007

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2007’ including Grandmaster Flash & The Furious Five, R.E.M., The Ronettes, Patti Smith and Van Halen.

23

April

2007

English indie rock band, Arctic Monkeys released their sophomore studio album, ‘Favourite Worst Nightmare’.

25

June

2007

British indie rock band Editors released their sophomore studio album, ‘An End Has a Start’.

5

November

2007

English downtempo artist William Emmanuel Bevan (a.k.a. Burial) released his melancholic genre breaking 2nd studio album, ‘Untrue’.

12

December

2007

Controversial American rock ‘n’ roll and R&B pioneer, Ike Turner died from a cocaine overdose at his home in San Marcos, California at the age of 76.

2

March

2008

Extraordinary blind Canadian blues/rock guitarist Jeff Healey died from lung cancer in Toronto at the age of 41.

10

March

2008

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2008’ including Leonard Cohen, The Dave Clark Five, Madonna, John Mellencamp, The Ventures and Little Walter.

1

April

2008

American blues/rock duo The Black Keys released their classic 5th studio album, ‘Attack & Release’.

3

April

2008

American media and technology giant Apple Inc. became the top seller of recorded music in the USA.

19

April

2008

The annual global campaign to promote the importance of independent music stores ‘Record Store Day’ began in California, USA.

28

April

2008

English trip-hop band, Portishead released their 3rd studio album, the originally titled, ‘Third’.

12

May

2008

American indie rock band Death Cab For Cutie released their 6th studio album, ‘Narrow Stairs’.

26

May

2008

English indie rock band Spiritualized released their 6th studio album, ‘Songs In A&E’.

2

June

2008

Legendary American blues and rock ‘n’ roll guitarist Bo Diddley died from heart failure at his home in Archer, Florida at the age of 79.

7

June

2008

The ‘homecoming’ funeral of American blues guitarist and singer Bo Diddley took place in Gainseville Florida.

19

June

2008

American indie rock band The War On Drugs released their debut studio album, ‘Wagonwheel Blues’.

10

August

2008

Acclaimed American soul singer, songwriter, producer and actor, Isaac Hayes died of a stroke at his home in Memphis, Tennessee at the age of 65.

19

September

2008

American rock band Kings of Leon released their commercially successful 4th studio album, ‘Only By The Night’.

10

October

2008

English alternative rock band Radiohead released their 7th studio album, ‘In Rainbows’ in the UK.

24

November

2008

Experimental virtuoso English rock guitarist, Jeff Beck released his highly acclaimed live concert album, ‘Performing This Week… Live At Ronnie Scott’s’.

15

December

2008

Hugely influential English folk acoustic guitarist Davey Graham died of lung cancer at the age of 68.

6

January

2009

American guitarist and songwriter with The Stooges and Iggy Pop, Ron Asheton died of a heart attack at his home in Ann Arbor, Michigan at the age of 60.

29

January

2009

Influential British singer, songwriter and guitarist, John Martyn died from pneumonia in Kilkenny, Ireland at the age of 60.

23

February

2009

English rave band The Prodigy released their resurgent 5th studio album, ‘Invaders Must Die’.

4

April

2009

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2009’ including Jeff Beck, Metallica, Run‑D.M.C., Bobby Womack, Bill Black and D.J. Fontana.

13

April

2009

Controversial American record producer Phil Spector was convicted of murdering actress Lana Clarkson at his Alhambra mansion in California in February 2003.

14

April

2009

English former member of The Beatles, George Harrison received a posthumous star on the Hollywood Walk of Fame at 1750 Vine Street.

29

May

2009

Notorious American record producer, Phil Spector was sentenced to 19 years to life in prison for murdering actress Lana Clarkson at his California mansion in 2003.

5

June

2009

English indie rock band Kasabian released their classic 3rd studio album, ‘West Ryder Pauper Lunatic Asylum’.

25

June

2009

American superstar singer Michael Jackson died of a drug overdose in Los Angeles, California at the age of 50.

12

August

2009

Legendary American jazz guitarist, singer, inventor and recording innovator, Les Paul, died from pneumonia in White Plains, New York at the age of 94.

19

August

2009

English indie rock band, Arctic Monkeys released their 3rd studio album, ‘Humbug’.

12

October

2009

British indie rock band Editors released their 3rd studio album, ‘In This Light And On This Evening’.

Tailpiece

Help! We are running out of decades from which to poach pertinent and poignant particulars (pardon the flowery alliteration). Just one more decade and a few hundred facts to be revealed before the chronological timeline has to remain as‑yet‑unwritten for another epoch. The next instalment looking at the 2010s will, by definition, bring us pretty much up‑to‑date. I hope you feel inclined to re-join me in the next enthralling part of the journey.

In the meantime, warmer days and longer evenings of spring beckon. There are plenty of guitars to be played and much music to be listened to. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “It really doesn’t matter what music you play, or how good you are at playing it, as long as you play”

© 2020 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?

November 2019 – The Story of Modern Music in 1,500+ Facts – Part IX

posted in: History, Introduction, Observations | 0

Introduction

Welcome to the end of the 20th Century. Not actually, of course, that was 20 years ago now. I mean, in the ‘Story of Modern Music’, having covered almost 350 years so far, welcomes you to the very end of the century that really transformed mankind’s potential and bestowed opportunities hitherto unforeseen and unthought‑of, including musically.

If you would like to (re)visit any of the first eight chapters of the story to‑date, you can do so here (each link opens a new browser tab):

I did think of trying to compress the last three decades into a single article and then thought better of it on the grounds that doing so might diminish the impact of the period within the overall picture. So, just for now, the millennial years will have to wait. The result is that the 1990s will have its own dedicated article, although it will be a slightly more diminutive read compared to the previous five decades/articles.

The Story of Modern Music Part IX 1990-1999

It is quite tricky to pinpoint exactly what the ‘90s meant to music devotees. It seemed to depend where you lived, your age and, perhaps, what socio‑economic ‘class’ you belonged to. Whether it was grunge, alternative, Britpop or dance music that floated your boat, there was a new and exciting scene to associate with and belong to. The psychological attachment to a musical style was important to many, especially young people who were looking for some structure to life while the old order of social and political systems seemed to be disintegrating around them. Although not quite as disobedient and defiant as previous musical archetypes, there was still an underlying seething resentment of ‘the man’, which various groups saw as attempting to control their chosen form of exuberant self‑expression. In a sense, they were tapping into the anger of the marginalised.

With previous decades, it was notable that births of familiar artists outnumbered deaths, while the ‘90s saw that trend beginning to reverse. Many future artists that may well achieve sustained fame may have been born in the ‘90s but not yet discovered, while the stars of previous eras are getting, let’s be honest, a bit long in the tooth.

Similarly, it is becoming difficult to distinguish what definitive musical gems will rise from the seeming homogeneity of releases to become revered as ‘classic’ in years to come. Arguably, the 1990s marked the last vestiges of milestone singles and albums. From then on, listening habits began to change fundamentally and that, in turn, changed the way we regard significance, at least through the traditional lens of sales figures.

Historical Context 1990-1999

Some commentators called the 1990s as the ‘best decade’, although that clearly depended on your circumstances and point of view! The dawn of the 1990s experienced widespread international political restructuring, especially in Eastern Europe following the end of the Cold War and the fracturing of the communist Eastern Bloc. The 1990s also saw the growth in environmental consciousness based on dire scientific predictions about global warming and climate change. Ironically, scaremongering about ‘greenhouse gases’ led to an expansion of ‘green’ industries in developed countries. Similarly, many commentators observed signs of societal dysfunctionality, leading to prescient dystopian novels such as ‘Generation X’ by Douglas Coupland (1991), ‘Random Acts Of Senseless Violence’ by Jack Womack (1992), and ‘Prozac Nation’ by Elizabeth Wurtzel (1994). The wealth gap between the haves and have‑nots was striking; a morally unjustifiable trend that would only worsen from the 1990s onwards. The increase in the pace of technological change in post‑industrial countries fuelled the migration towards ‘digitocracies’ and resulted in manufacturing being outsourced to low‑cost developing countries on a massive scale. A period of unprecedented growth in the use of the Internet fuelled unsustainable speculation in the value of high‑tech companies, known broadly as the ‘dot‑com bubble’, a phenomenon that was bound to burst, which it ultimately did. Many companies that had become reliant on IT during the decade were fearful of the impact of Y2K on computer systems that were not prepared for the turn of the millennium.

Year

Global Events

1990

Following the fall of the Berlin Wall and the collapse of soviet communism, East and West Germany were reunited as the Federal Republic of Germany.

 

Political internee and equal rights campaigner, Nelson Mandela was released from prison after serving 27 years. His return to freedom effectively marked the end of apartheid in South Africa.

 

The ground breaking American cult TV series Twin Peaks burst onto screens. Created by David Lynch and Mark Frost, and starring Kyle MacLachlan. It is considered a landmark in television drama.

 

NASA’s Hubble Space Telescope, named after American astronomer Edwin Hubble, was launched into low Earth orbit. The telescope was designed to look into deep space.

 

The first Middle East Gulf War started after Iraq invaded and annexed neighbouring Kuwait. A U.S.‑led coalition of 35 countries responded with Operation Desert Storm resulting in a coalition victory.

1991

Communist rule of the soviet USSR ended, resulting in a break up into a number of separate countries. The dismantling of the communist state effectively ended the 45‑year old Cold War between Russia and America.

 

British computer scientist and engineer, Tim Berners-Lee posted a short summary of the World Wide Web project, effectively launching the Internet, initially to research institutions and then to the general public.

1992

The infamous Los Angeles riots took place after 4 LAPD officers were acquitted of using excessive force in the arrest of African-American Rodney King the previous year. The incident had been videotaped and broadcast widely on TV, sparking renewed civil rights activism.

 

Founded in 1918, Central European country Yugoslavia descended into bitter civil war in Bosnia and Herzegovina, a devastating military conflict that lasted until 1995.

1993

Democrat politician Bill Clinton became the 42nd president of the U.S.A.

 

Another massive American cult TV series, The X-Files was first broadcast, created by Chris Carter and starring David Duchovny and Gillian Anderson.

 

The European Union (EU) succeeded the European Economic Community (EEC) when 12 countries signed the Maastricht Treaty, signalling a process of closer political and economic union.

1994

The trilateral North American Free Trade Agreement (NAFTA) between the U.S.A., Canada and Mexico came into effect.

 

Anti-apartheid revolutionary and politician Nelson Mandela was elected as president of South Africa. He was the country’s first black head of state and the first to be elected in a fully representative democratic election.

 

The Provisional Irish Republican Army (IRA) declared a cease fire in Northern Ireland, paving the way for de‑armament and the subsequent peace process.

 

The 38Km (23.5mile) Channel Tunnel rail link beneath the English Channel from Folkestone in England to Calais in France was opened for business.

1995

The phenomenally successful multi‑national online auction and e‑commerce website eBay was launched, founded by entrepreneur Pierre Omidyar and based in San Jose, California.

 

Former professional American footballer O.J. Simpson was found not guilty of the double murder of former wife Nicole Simpson and her friend, Ronald Goldman. The criminal trial, held in Los Angeles, was widely broadcast on TV.

1996

Dolly the sheep became the first mammal to be cloned from an adult cell by using nuclear transfer in Scotland, UK. Dolly died in 2003 at the age of 6.

 

Heir to the British throne, Prince Charles was formally divorced from Diana, Princess of Wales in London.

1997

The British crown colony of Hong Kong was returned to Chinese sovereignty as a Special Administrative Region of the People’s Republic of China after 156 years of British rule.

 

Diana, Princess of Wales, was killed in a car crash in the Pont de l’Alma tunnel in Paris, France at the age of 36. Her lover, Egyptian socialite Dodi Fayed, was also killed in the crash, sparking many conspiracy theories.

 

Albanian-Indian Roman Catholic nun and humanitarian missionary Mother Teresa died of a heart attack in Rome at the age of 87.

 

The Pacific Rim countries were hit by the major Asian Financial Crisis, starting in Thailand and spreading rapidly across east and southeast Asia, resulting in an international financial contagion that threatened a severe worldwide economic meltdown.

1998

The male virility drug Sildenafil, commonly known as Viagra, became available for use in America. It was originally discovered by pharmaceutical company Pfizer as a treatment for heart‑related chest pain.

 

The Internet search engine Google Search was launched. It is the most widely used search engine on the World Wide Web, with over 90% market share in 2019, handling more than 5 billion searches per day.

 

Multinational technology giant, Apple Inc. launched the highly successful iMac computer.

 

The multilateral Good Friday Agreement was signed in Belfast by the Republic of Ireland and Britain as part of the on-going Northern Ireland peace process.

 

The first module of the International Space Station (ISS) was launched into low Earth orbit. The ISS has served as a multinational microgravity research laboratory.

1999

The Euro became the official single currency for the majority of European Union (EU) countries, known commonly as the Eurozone. The security of the Euro is overseen by the European Central Bank in Frankfurt, Germany.

 

Politician, Vladimir Putin became President of Russian Federation, succeeding former president, Boris Yeltsin.

Musical Genre Development 1990-1999

The 1990s was a decade of sometimes dysfunctional music set against a background of major political change and social polarisation/alienation.

One phenomenon of the 1990s that isn’t genre‑specific but which built on the perennial success of pop music was the ‘boy band’ and its all‑girl equivalent. Artists included Backstreet Boys, Boyz II Men, *NSYNC, Take That, Westlife, All Saints, S Club 7, Spice Girls and Destiny’s Child. The record company ‘manufactured’ bands didn’t have it all their own way; solo pop music artists were also highly successful during the 1990s, including Britney Spears, Christina Aguilera, Justin Timberlake, Jessica Simpson, and Mandy Moore.

American heavy metal saw a resurgence including bands like Metallica, Megadeth, Slayer and Pantera achieving massive popularity. Meanwhile, British heavy metal was also prospering with NWOBHM bands such as Def Leppard, Judas Priest and Iron Maiden.

Hip‑hop became increasingly divisive, inciting gang warfare, gun violence and drug use, fuelling rivalry between east and west coast artists, and resulting in a number of high profile deaths including Tupac Shakur and the Notorious B.I.G.

The English ‘Manchester movement’ (or ‘Madchester’ as it was often called) was strong in the late 1980s and early ‘90s. The scene centred on venues like the Haçienda nightclub in Manchester, run by post‑punk band New Order and led by local bands such as Stone Roses, Happy Mondays and The Charlatans, although the latter were actually based in the west midlands. The music isn’t necessarily a genre per se, it was more of a loose social and cultural grouping that also encompassed fashion, art and media. The OTT craziness of the Manchester scene was faithfully represented in the film ’24 Hour Party People’, made in 2002, directed by Michael Winterbottom. Other artists associated with the vital hotpot based around the UK’s North West were The Verve, Inspiral Carpets and James, as well as Scottish band Primal Scream. The Manchester ‘baggy’ zeitgeist would be important in the growth of the drug‑fuelled rave scene later in the decade.

A fusing of genres led to the emergence of trip hop as a discrete genre that grew from its roots in Bristol, UK and was pioneered by artists like Massive Attack, Tricky, Portishead, Morcheeba and Sneaker Pimps. Sometimes referred to as ‘downtempo’, it is typified by taking electronica, hip‑hop, house, funk, dub, soul and psychedelia and creating something altogether different and fresh. While its roots were clearly experimental and atmospheric, trip hop was influential in that it led to other popular mainstream forms that became subsumed in the electronic dance craze (see below) of the 1990s and early 2000s, including breakbeat, bigbeat, drum ‘n’ bass, IDM, dubstep and acid jazz. Like the Manchester movement, trip hop was very much a UK‑led genre, which had little mainstream success in the U.S.

Like punk before it, alternative rock and its counterpart, experimental noise rock, is a musical genre that railed against the major record corporations that ran the music business and the mainstream pop and rock products they marketed. Independent producers and record labels that existed outside the studio system were very much part of an active underground movement, particularly in America, and this is where a number of bands came to public attention at the start of the 1990s. Compared to the mainstream, alternative artists found it relatively difficult to garner wide audience appeal, so word of mouth, radio and record releases were the way that the message got out. The alternative moniker is more of an umbrella term relating to artists’ status in the system, rather than having definitive identifiable genre characteristics. Notable alternative artists include Sonic Youth, Dinosaur Jr., Nine Inch Nails, Beck, Jane’s Addiction, Smashing Pumpkins and Pixies. Before they signed to a major label, R.E.M. were seen as alternative and this started a broadening of the definition that included other major artists such as Rage Against the Machine, Red Hot Chili Peppers, Foo Fighters, Queens Of The Stone Age, Radiohead and Nick Cave & The Bad Seeds. The start of the new millennium saw other alternative rock artists emerge including The Strokes, Interpol and The Rapture, extending and ensuring alternative rock’s destiny into the 21st Century.

Grunge is a specific genre of music that developed in the Pacific North West of the United States and more specifically its epicentre in and around Seattle in Washington State. Like alternative/noise rock, grunge was an underground movement centred on an independent record label, in this case, Sub Pop records based in Seattle. Grunge is influenced by punk, metal and alternative styles resulting in something altogether different from all of them. Grunge is characterised by slow, raw arrangements and a distinctly distorted lo‑fi sound. Compositions often followed a quiet‑loud‑quiet structure. Lyrics tended to be downbeat, melancholic, anti‑consumerist and often depraved with a focus on cultural alienation and social isolation. While all of the following rejected the term ‘grunge’ as defining their music, especially after signing to major labels, the early pioneers of Seattle’s grunge scene included Nirvana, Soundgarden, Pearl Jam, Mudhoney and Alice In Chains. The core grunge scene had largely fizzled out and diversified by the end of the 20th Century. A revival of the grunge ethic evolved in the 2010s to include artists like Courtney Barnett, Wolf Alice and Yuck.

Britpop was essentially an upbeat and positive British reaction to the dark and depressing American grunge scene. The music and its cultural background (nicknamed ‘Cool Britannia’) lasted approximately from 1993‑1997 before fizzling out. The major bands of the Britpop period included the ‘big four’; Oasis, Blur, Pulp and Suede. Collectively they expanded popularity to include other artists such as Supergrass, Cast, The Lightning Seeds, Sleeper and Elastica. The so‑called ‘Battle of Britpop’ between Oasis and Blur around 1995 was a media‑fuelled highlight catching the public’s imagination at the time. Britpop was important for influencing many quintessentially British bands that came along for the ride including Coldplay, Travis, Feeder, Stereophonics, Elbow, Snow Patrol and Keane. Further influences included Kaiser Chiefs and Arctic Monkeys in the 2000s.

Dance music (in this context, Electronic Dance Music – EDM) was a phenomenon that had its roots in the late 1980s but exploded in the early 1990s and lasted well into the 2000s. Dance music comprises largely electronically produced progressive dance music intended for use at nightclubs, festivals and (often illegal) raves by DJs who mixed and re‑mixed heavy beats through loud PA systems to audience rapture. In fact, many record labels and DJs became far more celebrated than the musical artists they played in their DJ sets. The predominant sub‑genres of dance music include house, techno, trance, drum ‘n’ bass and dubstep, although these only represent the tip of the dance sub‑genre iceberg. Dance beats generally comprise programmed synthesizers, samplers and drum machines to produce buoyant, insistent 4/4 dance rhythms. Dance music also became synonymous with recreational drug use such as ecstasy (MDMA) as well as party holiday destinations such as Ibiza and Mykonos islands in the Mediterranean Sea. Some of the famous artists of the dance scene include The Chemical Brothers, The Prodigy, Underworld, Orbital, KLF, The Shamen, The Future Sound of London, 808 State, Groove Armada, Aphex Twin, Basement Jaxx and Daft Punk. Later artists built on the foundation, include Pendulum, SBTRKT and Skream. DJs became pivotal in promoting the dance craze and became famous in their own right, including Carl Cox, Fatboy Slim, Pete Tong, Paul Van Dyk and Armin van Buuren. There are many sub‑genres of dance including acid house, IDM (Intelligent Dance Music), ambient, breakbeat, downtempo, jungle and UK garage, all ensuring that dance music remains up‑to‑date and relevant in the 21st Century.

Musical Facts 1990-1999

Day

Month

Year

Music Fact

23

January

1990

American guitarist and co-founder of southern rock band Lynyrd Skynyrd, Allen Collins died from pneumonia in Jacksonville, Florida at the age of 37.

8

February

1990

American country and rock & roll singer and songwriter, Del Shannon committed suicide as a result of depression at his home in California at the age of 55.

18

February

1990

English singer Freddie Mercury made his final public appearance with other members of pop/rock band Queen at the Brit Awards ceremony, held in London.

20

March

1990

English electronic/alternative rock band Depeche Mode released their career-defining classic 7th studio album, ‘Violator’ in the UK.

26

March

1990

Northern Irish blues/rock guitarist, Gary Moore released his classic studio album, ‘Still Got The Blues’.

3

April

1990

Highly acclaimed Grammy award winning American jazz singer Sarah Vaughan died from cancer at her home in Hidden Hills, California at the age of 66.

10

April

1990

American East Coast rappers Public Enemy released their politically charged 3rd studio album, ‘Fear of a Black Planet’.

16

April

1990

Indie rock giants, Nick Cave & The Bad Seeds released their 6th studio album, ‘The Good Son’.

26

June

1990

Prolific American alternative rock band Sonic Youth released their successful and significant 6th studio album, ‘Goo’.

24

July

1990

American heavy metal rock band Pantera released their classic 5th studio album ‘Cowboys From Hell’.

21

August

1990

Legendary American blues guitarist and singer B.B. King received a star on the Hollywood Walk of Fame at 6771 Hollywood Boulevard.

27

August

1990

American blues guitarist, singer and songwriter, Stevie Ray Vaughan and four others died tragically in a helicopter crash in East Troy, Wisconsin at the age of 35.

31

August

1990

The funeral service of American blues/rock guitarist Stevie Ray Vaughan took place at Laurel Land Cemetery in Dallas, Texas.

3

September

1990

English heavy metal rock band Judas Priest released their 12th studio album, ‘Painkiller’.

21

September

1990

American thrash metal rock band Megadeth released their superb classic 4th studio album, ‘Rust In Peace’.

6

October

1990

American Heavy metal band Metallica began recording their massive studio album ‘Metallica’ (aka the ‘black album’) in Los Angeles, California.

9

October

1990

American thrash metal band, Slayer, released their mega 5th studio album, ‘Seasons In The Abyss’.

29

October

1990

Legendary award-winning American blues guitarist, singer and songwriter John Lee Hooker was inducted into the Rock and Roll Hall of Fame.

8

January

1991

English guitarist and songwriter, Steve Clark of hard rock band Def Leppard died of alcohol poisoning at his home in London, at the age of 30.

15

February

1991

Successful English pop singer, songwriter, guitarist, record producer, and actor Ed Sheeran was born in Halifax, West Yorkshire.

21

March

1991

Legendary American inventor and founder of Fender Electric Instrument Manufacturing Company, Leo Fender died from Parkinson’s disease in Fullerton, California at the age of 81.

8

April

1991

English trip-hop pioneers, Massive Attack, released their successful debut studio album, ‘Blue Lines’ in the UK, including the dance anthem, ‘Unfinished Sympathy’.

20

April

1991

English guitarist and front man of rock bands Small Faces and Humble Pie, Steve Marriott died in a house fire at his home in Essex at the age of 44.

23

April

1991

American guitarist, singer and songwriter with New York Dolls, Jonny Thunders died in mysterious circumstances in a hotel room in New Orleans, Louisiana at the age of 38.

30

July

1991

American heavy metal rock band Metallica released their massively successful single ‘Enter Sandman’.

12

August

1991

American heavy metal band Metallica released their career-defining 5th studio album, ‘Metallica’, often referred to as ‘the black album’.

27

August

1991

American alternative rock band from Seattle, the home of grunge rock pioneers, Pearl Jam burst onto the scene with the release of their astonishing platinum-selling debut studio album, ‘Ten’.

10

September

1991

American grunge rock pioneers Nirvana released their ‘90s anthem for disaffected youth, the near perfect hit single ‘Smells Like Teen Spirit’.

17

September

1991

American hard rock band, Guns n’ Roses, released their 3rd and 4th studio albums ‘Use Your Illusion’ parts I & II on the same day in the U.S.

23

September

1991

Scottish alternative rock band, Primal Scream released their massive 3rd studio album, ‘Screamadelica’.

24

September

1991

American grunge rock pioneers Nirvana released their career-defining classic 2nd studio album ‘Never Mind’ in the U.S. Well over 30 million copies have been sold so far.

24

September

1991

American alternative rock band Red Hot Chili Peppers released their 5th studio album, ‘Blood Sugar Sex Magik’, produced by Rick Rubin.

28

September

1991

American jazz trumpeter, Miles Davis died of complications from a stroke, pneumonia, and respiratory failure in a hospital in Santa Monica, California at the age of 65.

14

November

1991

Legendary American guitarist and singer Jimi Hendrix received a posthumous star on the Hollywood Walk of Fame at 6627 Hollywood Boulevard.

18

November

1991

Massive Irish rock band, U2, released their storming 7th studio album, ‘Achtung Baby’ in the UK.

24

November

1991

English singer with pop/rock band Queen, Freddie Mercury died of pneumonia resulting from AIDS at his home in London at the age of 45.

15

January

1992

Rock band, The Jimi Hendrix Experience and country music legend, Johnny Cash were both inducted into the American Rock and Roll Hall of Fame.

29

January

1992

Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon died of heart failure in Burbank, California at the age of 76.

21

February

1992

American heavy metal rock band Pantera released their classic 6th studio album ‘Vulgar Display Of Power’.

31

March

1992

English heavy metal rock band Def Leppard released their classic 5th studio album, ‘Adrenalize’.

20

April

1992

English indie rock icons, The Cure released their upbeat, commercial 10th studio album, ‘Wish’.

21

April

1992

American rap rockers, Beastie Boys, released their 3rd studio album, ‘Check Your Head’.

27

April

1992

Indie rock giants, Nick Cave & The Bad Seeds released their great 7th album, ‘Henry’s Dream’.

9

May

1992

American guitarist, singer and songwriter Bruce Springsteen made his live American TV network debut on ‘Saturday Night Live’ with show host Tom Hanks.

21

July

1992

American alternative rock band Sonic Youth released their cult, cool, classic 8th studio album, ‘Dirty’.

29

September

1992

American alternative rock band Alice In Chains released their sophomore studio album, ‘Dirt’.

6

October

1992

American rock band R.E.M. released their classic top‑selling studio album, ‘Automatic For The People’.

3

November

1992

American rock band Bon Jovi released their classic 5th studio album, ‘Keep The Faith’.

10

November

1992

American rock band Rage Against The Machine released their outstanding and career defining eponymous debut album ‘Rage Against The Machine’.

9

December

1992

Although not officially announced until January 1993, English bass guitarist Bill Wyman left The Rolling Stones.

21

December

1992

Legendary American blues guitarist, Albert King died from a heart attack at his home in Memphis Tennessee at the age of 69, just 2 days after his last concert.

6

January

1993

English bass guitarist Bill Wyman officially announced that he was leaving The Rolling Stones after more than 3 decades with the band.

23

March

1993

English alternative/electronic rock band Depeche Mode released their 8th studio album, ‘Songs Of Faith And Devotion’ in the UK.

20

April

1993

Emerging English alternative rock band Radiohead released their debut album, ‘Pablo Honey’ in the UK.

29

April

1993

English session guitarist, songwriter and producer who played extensively with David Bowie’s Spiders From Mars among others, Mick Ronson died from liver cancer in London at the age of 46.

23

August

1993

English new romantic band Duran Duran received a star on the Hollywood Walk of Fame at 1770 Vine Street.

21

September

1993

American alternative grunge rock band, Nirvana released their 3rd and final studio album, ‘In Utero’.

19

October

1993

American rock band Pearl Jam released their major 2nd studio album, ‘Vs.’.

9

November

1993

American East Coast rappers Wu-Tang Clan released their incendiary debut studio album, ‘Enter the Wu-Tang (36 Chambers)’.

19

November

1993

American grunge rock band Nirvana recorded their classic live acoustic concert and album, ‘MTV Unplugged In New York’ at Sony Music Studios.

23

November

1993

American rock band, Guns N’ Roses, released their 5th studio album, ‘The Spaghetti Incident?’

24

November

1993

Legendary American blues/rock guitarist, nicknamed The ‘Master of the Telecaster’ and ‘The Ice Man’, Albert Collins died from lung cancer at his home in Las Vegas, Nevada at the age of 61.

4

December

1993

Non-conformist American guitarist and composer extraordinaire, Frank Zappa died of prostate cancer at his home in Los Angeles at the age of 52.

1

February

1994

American pop punk rock band Green Day released their breakthrough 3rd studio album, ‘Dookie’.

1

March

1994

American grunge band Nirvana played their last ever live concert, interrupted by a power cut, in Munich, Germany.

1

March

1994

American alternative rock artist, Beck released his 3rd studio album, ‘Mellow Gold’.

8

March

1994

American alternative rock band, Nine Inch Nails released their career-peak 2nd studio album, ‘The Downward Spiral’.

5

April

1994

American singer, songwriter, guitarist and member of grunge rock band Nirvana, Kurt Cobain died from a self‑inflicted shotgun wound in Seattle, Washington at the age of 27.

19

April

1994

Alternative rock band Nick Cave & The Bad Seeds released their classic, career-defining 8th studio album, ‘Let Love In’.

26

April

1994

American country music legend Johnny Cash embarked on a whole new period of his career with the release of his classic studio album, ‘American Recordings’.

27

April

1994

The famous San Francisco music venue the Fillmore reopened its doors at 1805 Geary Boulevard. It had been closed since 1989 after being damaged in an earthquake.

23

May

1994

Influential American virtuoso jazz guitarist, Joe Pass died from liver cancer in Los Angeles, California at the age 65.

24

May

1994

American rappers, Beastie Boys, released their classic 4th studio album, ‘Ill Communication’ in the U.S.

14

July

1994

English rave band The Prodigy released their breakout 2nd studio album ‘Music for the Jilted Generation’.

22

August

1994

Pioneering English trip-hop band, Portishead released their ground breaking debut studio album, ‘Dummy’.

23

August

1994

Acclaimed American singer, songwriter and guitarist Jeff Buckley released his first and only studio album, ‘Grace’. A modern classic.

26

September

1994

English trip-hop outfit, Massive Attack, released their great sophomore studio album, ‘Protection’ in the UK.

4

October

1994

Versatile American ‘redneck jazz’ guitarist Danny Gatton died from self-inflicted gunshot wounds at his home in Newburg, Maryland at the age of 49.

1

November

1994

American grunge band Nirvana released their impressive award-winning live album, ‘MTV Unplugged in New York’, 6 months after Kurt Cobain’s death.

5

December

1994

English indie rock group The Stone Roses released their sophomore studio album, ‘Second Coming’.

13

March

1995

English alternative rock band Radiohead released their breakout 2nd studio album, ‘The Bends’ in the UK.

13

June

1995

Canadian singer, songwriter, musician and producer Alanis Morissette released her classic 3rd studio album, ‘Jagged Little Pill’.

14

June

1995

Renowned Irish blues/rock guitarist Rory Gallagher died of MRSA following liver failure caused by medication and alcohol in London at the age of 47.

9

August

1995

American guitarist Jerry Garcia of psychedelic rock band Grateful Dead died from a heart attack while at a rehabilitation centre in California at the age of 53.

2

September

1995

12 years after it was founded, America’s homage to contemporary music, the Rock And Roll Hall of Fame Museum opened on the shore of Lake Erie in Cleveland, Ohio and was celebrated with an all-star concert.

26

September

1995

American alternative rock band Sonic Youth released their great 10th studio album, ‘Washing Machine’.

2

October

1995

Australian artists, Nick Cave and Kylie Minogue released the haunting and elegiac duet single ‘Where the Wild Roses Grow’.

7

November

1995

American alternative rock band Alice In Chains released their eponymous 3rd studio album, ‘Alice In Chains’.

21

November

1995

American rock legend, Bruce Springsteen released his 11th studio album, ‘The Ghost of Tom Joad’.

17

January

1996

Music greats, David Bowie, Pink Floyd and Velvet Underground were all inducted into the American Rock and Roll Hall of Fame.

5

February

1996

Australian alternative rockers, Nick Cave & The Bad Seeds released their dark 9th studio album, ‘Murder Ballads’.

16

April

1996

American alternative rock group Rage Against The Machine released their sophomore studio album, ‘Evil Empire’.

17

May

1996

American blues, soul and funk singer, songwriter and guitarist, Johnny ‘Guitar’ Watson died of a heart attack after collapsing on stage in Yokohama, Japan at the age of 61.

15

June

1996

Legendary American jazz singer Ella Fitzgerald died of complications from diabetes in Beverley Hills, California, at the age of 79.

18

June

1996

American alternative rock artist, Beck, released his classic, top-selling 5th studio album, ‘Odelay’.

17

July

1996

English bass guitarist with R&B band The Animals and Jimi Hendrix’s manager, Chas Chandler died of an aneurism in Newcastle, at the age of 57.

10

September

1996

American alt-rock group R.E.M. released their classic 10th studio album, ‘New Adventures In Hi-Fi’.

13

September

1996

American rapper Tupac Shakur died of gunshot wounds following a drive-by shooting in Las Vegas, Nevada at the age of 25.

19

September

1996

American jazz guitarist George Benson received a star on the Hollywood Walk of Fame at 7055 Hollywood Boulevard.

31

October

1996

English/American guitarist Slash announced that he was leaving rock band Guns N’ Roses after a relationship breakdown with the group’s lead singer Axl Rose.

2

November

1996

Sublime American singer and guitarist, known as ‘the songbird’, Eva Cassidy died from cancer in Bowie, Maryland at the age of 33.

10

January

1997

American soul legend James Brown received a star on the Hollywood Walk of Fame at 1501 Vine Street.

12

February

1997

English singer and songwriter David Bowie received a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard.

4

March

1997

Alternative rock band, Nick Cave & The Bad Seeds released their classic 10th studio album, ‘The Boatman’s Call’.

9

March

1997

American rapper Christopher Wallace (a.k.a. The Notorious B.I.G.) was shot and killed in Los Angeles, California at the age of 24.

11

March

1997

English former member of The Beatles, Paul McCartney was knighted by Her Majesty Queen Elizabeth II at Buckingham Palace, London.

7

April

1997

British dance/electronica/big beat duo, The Chemical Brothers, released their massive studio album, ‘Dig Your Own Hole’ in the UK.

14

April

1997

English electronic/alternative rock band Depeche Mode released their classic 9th studio album, ‘Ultra’ in the UK.

29

May

1997

Renowned American singer, songwriter and guitarist Jeff Buckley died tragically from accidental drowning in Wolf River Harbor, Memphis, Tennessee at the age of 30.

4

June

1997

English bass guitarist and founder of rock band Small Faces, Ronnie Lane died from pneumonia resulting from multiple sclerosis in Trinidad, Colorado at the age of 51.

16

June

1997

English alternative rock band Radiohead released their top-selling 3rd studio album, ‘OK Computer’ in the UK.

30

June

1997

British rave band, Prodigy, released their massive zeitgeist‑defining 3rd studio album, ‘The Fat Of The Land’ in the UK.

22

August

1997

German industrial metal rock band Rammstein released their massive 2nd studio album, ‘Sensucht’ (translated crudely as ‘Desire’).

11

September

1997

American blues legend John Lee Hooker received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.

30

September

1997

English trip-hop band, Portishead released their eponymous sophomore album, ‘Portishead’ in the UK.

12

October

1997

American folk singer, songwriter and guitarist John Denver died tragically in plane crash in Monterey Bay, California, at the age of 53.

19

October

1997

American guitarist, best known for his work with Alice Cooper, Glen Buxton, died of complications from pneumonia in a hospital in Mason City, Iowa at the age of 49.

10

November

1997

Highly-regarded American session guitarist and one of the most recorded musicians in popular music history, Tommy Tedesco died of lung cancer in Northridge, California at the age of 67.

22

November

1997

Australian singer and front man of the rock band INXS, Michael Hutchence committed suicide in Sydney, Australia at the age of 37.

19

January

1998

American singer, songwriter and guitarist, Carl Perkins died from throat cancer in Jackson-Madison County Hospital, Tennessee, at the age of 65.

30

January

1998

English pop singer and songwriter Sir Elton John received his knighthood from Her Majesty The Queen.

19

February

1998

Legendary American jazz trumpeter Miles Davis received a posthumous star on the Hollywood Walk of Fame at 7060 Hollywood Boulevard.

20

April

1998

English trip-hop outfit, Massive Attack, released their classic 3rd studio album, ‘Mezzanine’ in the UK.

14

May

1998

American singer and actor, Frank Sinatra died from a heart attack at the Cedars-Sinai Medical Center in Los Angeles, California at the age of 82.

6

July

1998

Legendary American singer, guitarist and actor, nicknamed the ‘King of the Cowboys’, Roy Rogers died of heart failure in Apple Valley, California at the age of 86.

25

July

1998

American virtuoso jazz guitarist, Tal Farlow died of oesophageal cancer in New York City at the age of 77.

17

August

1998

Mexican-American guitar legend Carlos Santana received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.

15

September

1998

American heavy metal rock artist, Marilyn Manson released his massively successful classic 3rd studio album, ‘Mechanical Animals’.

24

September

1998

American icon and rock ‘n’ roll legend Elvis Presley was inducted into the Country Music Hall of Fame.

1

October

1998

American guitarist, singer and songwriter and founder of rock band Creedence Clearwater Revival, John Fogerty received a star on the Hollywood Walk of Fame at 7000 Hollywood Boulevard.

2

October

1998

American country & western ‘singing cowboy’ Gene Autry died of lymphoma at his home in Studio City, California at the age of 91.

6

October

1998

American rock band Queens Of The Stone Age (QOTSA) released their self-titled debut album, ‘Queens Of The Stone Age’.

13

October

1998

The Crossroads Centre in Antigua, founded by English blues/rock guitarist and singer Eric Clapton, opened its doors to help clients with drug and alcohol rehabilitation.

3

November

1998

American alternative rock singer, songwriter, musician and producer, Beck, released his 6th studio album, ‘Mutations’, the follow up to the massive ‘Odelay’.

29

November

1998

American jazz pioneer of the 7-string guitar, George Van Eps, died of pneumonia in Newport Beach, California at the age of 85.

25

December

1998

English pop/rock band, The Beatles, received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.

30

December

1998

American surf rock band The Beach Boys received a star on the Hollywood Walk of Fame at 1500 Vine Street.

15

March

1999

Legendary American singer and songwriter Bruce Springsteen was inducted into the American Rock and Roll Hall of Fame.

28

April

1999

American rock band Tom Petty & The Heartbreakers received a star on the Hollywood Walk of Fame at 7018 Hollywood Boulevard.

17

May

1999

Award-winning American singer, songwriter, guitarist, electronica musician and producer Moby released his mega-successful 5th studio album, ‘Play’.

15

June

1999

After a long break, American Latin rock band Santana released their highly successful 17th studio album, ‘Supernatural’.

16

June

1999

English rock singer, drummer and member of progressive rock band Genesis, Phil Collins received a star on the Hollywood Walk of Fame at 6834 Hollywood Boulevard.

24

June

1999

English blues/rock guitarist, Eric Clapton auctioned many of his guitars in New York City. The proceeds were used in support of the Crossroads Centre he founded in Antigua as a residential treatment centre for alcohol and chemical dependencies.

11

August

1999

American rock band KISS received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.

7

September

1999

American virtuoso guitarist, singer, songwriter and producer Steve Vai released his astonishing 5th studio album, ‘The Ultra Zone’.

2

November

1999

American alternative rock band Rage Against The Machine released their 3rd studio album, ‘The Battle Of Los Angeles’ in the UK.

23

November

1999

American alternative rock artist, Beck, released his adventurous 7th studio album, ‘Midnite Vultures’.

17

December

1999

American smooth jazz, funk and soul saxophonist, Grover Washington Jr. died of a heart attack in New York City at the age of 56.

26

December

1999

Highly acclaimed American soul singer, songwriter, guitarist and producer, Curtis Mayfield, died from complications of diabetes in a hospital in Roswell, Georgia at the age of 57.

Tailpiece

The 1990s was certainly a strange decade both musically and culturally, notably as a segue to the 21st Century. While it seems very recent, it is actually receding into long‑term memory, thereby affecting our perceptions of what it meant to us at the time. Still to come, the new millennium is temptingly beckoning and it will prove as frustrating as it was liberating.

Now… we have a minor problemo. I was hoping to conclude this series of articles conveniently in December at the very end of the current decade. However, there are still one, two or maybe even three articles still to write before we are done. December 2019’s article will therefore, ceteris paribus, interrupt the sequence in that it will cover a summary of 2019 through the eyes of CRAVE Guitars, meaning that the ‘History of Modern Music’ will resume early in 2020, all being well. This series has been a gargantuan task thus far, so perhaps a short break in proceedings won’t do any harm. Heaven knows what will follow after it has been concluded though. Looking into the crystal ball of the future is largely futile, so I’ll have to start thinking hard about the ‘next big thing’ very soon. However, that can wait for next year/decade. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “It is a moral travesty that, if you have got everything, you think you can get away with anything.”

© 2019 CRAVE Guitars – Love Vintage Guitars.

← Return to ‘Musings’ page

Like it? Why not share it?