Music business blog extraordinaire Digital Music News has published some interesting graphics based on Google's new analysis of topics, which is still in its beta stage. The graphs show the measured interest in musical genres from 2005-2015, and every analyzed genre is down except for electronic dance music, which went sharply up, especially since 2013. Interest in rock, hip-hop, classical, jazz, blues, metal and disco (?) is all sharply down since 2005. Pop music popularity is also down, but only slightly so. It should be noted that interest in EDM seems to have peaked some time in 2014, and has gone just slightly down since then. See all the charts on the Digital Music News post.
LIKE THE musical equivalent of finely aged, artisanally crafted wine, Neil Davidge’s work transcendsthe proclivities of generations, genres, and trends; it’s gourmet music.
TIM BERGLING was born in Sweden, also home to ABBA, Ace of Base, Max Martin—a long tradition of impeccable dance-pop producers stretching to Eric Prydz and Swedish House Mafia.
“We’ve always been record
JOEL ZIMMERMAN spends the better part of his year with a huge smile plastered across his face.
MAMMAS, DON'T let your babies go down to Ibiza.
As a purveyor and creator of electronic music made from cold, hard machines—as well as a Berliner who grew up in East Germany before the wall came down—Paul van Dyk isn’t usually pegged as the sensitive type.
PAUL OAKENFOLD’S DJ/production CV is as thoroughly charged as his self-styled “full-on fluoro” sound, an energetic bombardment of big-room electronic dance music anthems, underground bangers, and filmic swatches.
The dubstep master reflects on his skyrocket to stardom
On Olympia, the Toronto sextet and producer
The electronica diva returns to her tech training and classical roots in studio sessions in Berlin and the Czech Republic.
With tracks titles like “Destroy 2000 Years Of Culture,” “Start The Riot,” and “Deutschland (Has Gotta Die),” Atari Teenage Riot (ATR) offered a harder-edged electro-punk alternative to the bigroom trance and glowsticks that defined the mid- ’90s electronica explosion.
When Bostich + Fussible (Ramón Amezcua and Pepe Mogt) were growing up in Tijuana, Mexico, their music listening was serious sound clash: Local mariachi bands, American pop, Germany’s Neu! and Kraftwerk, even Hot Butter’s 1972 smash, “Popcorn.”
A bedrock element of Stereolab’s continental cool, Laetitia Sadier’s voice is unmistakable. Hearing its breadth of variation on The Trip, from the “grey disco” of her “Un Soir, Un Chien” cover to the languid “Natural Child,” reveals the depth and fluidity that can be uncovered in a new context. For her first solo album, Sadier experimented with a new setting while keeping a foot anchored on comfortable ground, splitting recording time between Emmanuel Mario in the UK, who worked with her group Monade, and lo-fi singer/songwriter Richard Swift, who opened for Stereolab’s last U.S. tour and works out of his Portland studio.
When Underworld’s Rick Smith and Karl Hyde realized time (and perhaps life, at least as recording artists) was passing them by, they knew that drastic measures were required.
EQ.com Exclusive Below, read Jason Scott Alexander’s full interview with super indie producer and mixer Peter Katis on the making of The Philistines Jr. new album If A Band Plays in the Woods... (Tarquin Records, released October 19, 2010). For
Sometimes having eclectic taste in music is a burden. That’s what Adam Freeland (also known simply as Freeland) discovered upon making his second full-length album, CopeTM. Freeland got his start as a breakbeat DJ in the mid- ’90s, releasing his first mix CD, Coastal Breaks, Vol. 1, in 1996. Since then, the dancefloor has been his bread and butter. He continued putting out mix CDs, launched his own label (Marine Parade), and released a debut solo album, Now & Them, in 2003. But he never zeroed in on one type of dance music.
Experimentation, Perfectionism, and Distractions Mixed to Produce Wolfgang Amadeus Phoenix
When Toronto’s celebrated electropunk duo MSTRKRFT planned the follow-up to their 2006 smash debut, The Looks, the team of Jesse F. Keeler and Alex Puodziukas (a.k.a. Al-P) let it all hang out. Daft Punk and Justice be damned, MSTRKRFT embraced their inner “Tom Sawyer.”
Last time, there was pain... and verbal abuse. The pressures of delivering a big second record on a major label almost did in Casey Spooner and Warren Fischer. But while they weren’t having the best time working with each other, the duo weathered the storm and released Odyssey. From conflict comes creativity, right?
For a dozen years, Jan St. Werner and Andi Toma, the German duo known as Mouse on Mars, have pursued a kind of electronic music that straddles audaciously experimental art and a calmly scientific and philosophical investigation into the nature and purpose of sound. Yet these two pointy-headed young gents have also filled dance floors in Europe, the U.K. and beyond with world-class blistering beatmeistering, successful stabs at glossy and melodious funk ’n’ soul, and more recently a return to the most brutally brainy of techno-glitch skull-scratchery.