Help...difference b/n Dance/Trance/Techno?
02-27-02, 12:35 PM
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Help...difference b/n Dance/Trance/Techno?
I know I may be opening up a can of worms but I recently got into these music genres (Dance, Trance, Techno, Electronica, etc.)and well...I've gotten confused as to what is what.
If someone could kinda tell me the differences I'd appreciate it so I don't sound like an idiot the next time I go to a CD store! Thanks in advance!
If someone could kinda tell me the differences I'd appreciate it so I don't sound like an idiot the next time I go to a CD store! Thanks in advance!
02-27-02, 08:50 PM
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It is hard to tell you how to catagorize the genres. But I can give you examples of who does techno, trance and so on is.
House - Derrick Carter, Mark Farina, Glenn Underground, Swayzak, The Rurals...
Techno - Richie Hawtin (check him out), Jeff Mills, Hyperactive, Adam Beyer, Cari Lekebusch, Luomo, Sutekh...
Trance - Personally I don't care for trance but here are some well known trance heads - Paul Olkenfold, John and Sasha Digweed...
If you would like more suggestions write me back at [email protected]
I can also set you up with some mp3s if interested.
modiman.
House - Derrick Carter, Mark Farina, Glenn Underground, Swayzak, The Rurals...
Techno - Richie Hawtin (check him out), Jeff Mills, Hyperactive, Adam Beyer, Cari Lekebusch, Luomo, Sutekh...
Trance - Personally I don't care for trance but here are some well known trance heads - Paul Olkenfold, John and Sasha Digweed...
If you would like more suggestions write me back at [email protected]
I can also set you up with some mp3s if interested.
modiman.
02-27-02, 09:13 PM
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Like Modiman said, the lines between genres are so blurred these days that it's difficult to accurately define them anymore. If you give us some ideas of what types of tunes and artists you like, then we can help you in that direction. I've considered myself an electronic music addict since about 1990. I have about 1200 cds and a ton of records, so if there is something you are interested in, just say so. The sheer volume of electronic music coming out generally dwarfs most genres, especially with so many small and regional releases. It can be nearly impossible to keep up with it all. I know my post didn't directly answer your question, but if you can be a little specific, I'd gladly help.
Jon
Jon
02-27-02, 11:44 PM
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Recommendations would be great....just what I was gonna request eventually! I guess the music that has influenced me most recently to kinda get more involved in these genres are the following....don't know what categories they would fall into and whether they would apply but....
Better Off Alone/Elements Of Life - Alice Deejay
9 PM/Kayama - ATB
Blue - Eiffel 65
I'll Fly With You - Gigi D'Agostino
Sandstorm - Darude
and a few others which I forget but....that's pretty much it!
Thanx!
Vu
Better Off Alone/Elements Of Life - Alice Deejay
9 PM/Kayama - ATB
Blue - Eiffel 65
I'll Fly With You - Gigi D'Agostino
Sandstorm - Darude
and a few others which I forget but....that's pretty much it!
Thanx!
Vu
02-27-02, 11:47 PM
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You used to be able to be at a party or club and yell at the DJ for playing too much house or trance because you could distinguish them fairly eaisly. Now, as SubZero said, those lines are blurred now. It seems a LOT of electronic music contains a little bit of everything.
02-28-02, 09:12 AM
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Moby's "Play" would qualify as "down tempo" (Air, Zero 7, Bent). His early dancier material is techno. Basement Jaxx I would say is what many in the industry calls Tech-house, along with the trademark merging of salsa, and other Caribbean (sic) beats that the Jaxx put into their songs. Daft Punk's first album was techno, while the second album could jokingly be termed Disco-revisited.
02-28-02, 11:22 AM
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Originally posted by modiman
Trance - Personally I don't care for trance but here are some well known trance heads - Paul Olkenfold, John and Sasha Digweed...
modiman.
Trance - Personally I don't care for trance but here are some well known trance heads - Paul Olkenfold, John and Sasha Digweed...
modiman.
Sasha plays mostly progressive house (played trance way back)and John Digweed plays deep house. for more house check out Danny Tenaglia. Don't mean to be nit picky, but I am kinda a house freak and don't like it confused with trance.
02-28-02, 12:20 PM
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Originally posted by grrrah
but I am kinda a house freak and don't like it confused with trance.
but I am kinda a house freak and don't like it confused with trance.
gr - a favor- i need some new material, i am getting edgy (besides - locally house is dead) can you email me a list to check out...
Last edited by bluestar; 02-28-02 at 12:25 PM.
03-02-02, 08:55 PM
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According to the All Music Guide...
Club/Dance music comes in many different forms, from disco to hip-hop. Though there have been various dance crazes throughout the history of popular music, club/dance music became its own genre in the mid-'70s, as soul mutated into disco and whole clubs were devoted to dancing. In the late '70s, dance clubs played disco, but by the end of the decade, disco was mutating into a number of different genres. All of the genres were collected under the catch-all term "dance," though there were distinct differences between dance-pop, hip-hop, house, and techno, among other subgenres. What tied them all together was their emphasis on rhythm -- in each dance subgenre, the beat remains all-important.
House music grew out of the post-disco dance club culture of the early '80s. After disco became popular, certain urban DJs -- particularly those in gay communities -- altered the music to make it less pop-oriented. The beat became more mechanical and the bass grooves became deeper, while elements of electronic synth pop, Latin soul, dub reggae, rap, and jazz were grafted over the music's insistent, unvarying four-four beat. Frequently, the music was purely instrumental and when there were vocalists, they were faceless female divas that often sang wordless melodies. By the late '80s, house had broken out of underground clubs in cities like Chicago, New York, and London, and had begun making inroads on the pop charts, particularly in England and Europe but later in America under the guise of artists like C+C Music Factory and Madonna. At the same time, house was breaking into the pop charts; it fragmented into a number of subgenres, including hip-house, ambient house, and most significantly, acid house (a subgenre of house with the instantly recognizable squelch of Roland's TB-303 bass-line generator). During the '90s, house ceased to be cutting-edge music, yet it remained popular in clubs throughout Europe and America. At the end of the decade, a new wave of progressive house artists including Daft Punk, Basement Jaxx, and House of 909 brought the music back to critical quarters with praised full-length works.
Techno had its roots in the electronic house music made in Detroit in the mid-'80s. Where house still had explicit connection to disco even when it was entirely mechanical, techno was strictly electronic music, designed for a small, specific audience. The first techno producers and DJs -- Kevin Saunderson, Juan Atkins, and Derrick May, among others -- emphasized the electronic, synthesized beats of electro-funk artists like Afrika Bambaataa and synth-rock units like Kraftwerk. In the United States, techno was strictly an underground phenomenon, but in England, it broke into the mainstream in the late '80s. In the early '90s, techno began to fragment into a number of subgenres, including hardcore, ambient, and jungle. In hardcore techno, the beats-per-minute on each record were sped up to ridiculous, undanceable levels -- it was designed to alienate a broad audience. Ambient took the opposite direction, slowing the beats down and relying on watery electronic textures -- it was used as come-down music, when ravers and club-goers needed a break from acid house and hardcore techno. Jungle was nearly as aggressive as hardcore, combining driving techno beats with breakbeats and dancehall reggae -- essentially. All subgenres of techno were initially designed to be played in clubs, where they would be mixed by DJs. Consequently, most of the music was available on 12-inch singles or various-artists compilations, where the songs could run for a long time, providing the DJ with a lot of material to mix into his set. In the mid-'90s, a new breed of techno artists -- most notably ambient acts like the Orb and Aphex Twin, but also harder-edged artists like the Prodigy and Goldie -- began constructing albums that didn't consist of raw beats intended for mixing. Not surprisingly, these artists -- particularly the Prodigy -- became the first recognizable stars in techno.
Breaking out of the German techno and hardcore scene of the early '90s, Trance emphasized brief synthesizer lines repeated endlessly throughout tracks, with only the addition of minimal rhythmic changes and occasional synthesizer atmospherics to distinguish them -- in effect putting listeners into a trance that approached those of religious origin. Despite waning interest in the sound during the mid-'90s, trance made a big comeback later in the decade, even supplanting house as the most popular dance music of choice around the globe.Inspired by acid house and Detroit techno, trance coalesced with the opening of R&S Records in Ghent, Belgium and Harthouse/Eye Q Records in Frankfurt, Germany. R&S defined the sound early on with singles like "Energy Flash" by Joey Beltram, "The Ravesignal" by CJ Bolland, and others by Robert Leiner, Sun Electric, and Aphex Twin. Harthouse, begun in 1992 by Sven Väth with Heinz Roth & Matthias Hoffman, made the most impact on the sound of trance with Hardfloor's minimal epic "Hardtrance Acperience" and Väth's own "L'Esperanza," plus releases by Arpeggiators, Spicelab, and Barbarella. Artists like Väth, Bolland, Leiner, and many others made the transition to the full-length realm, though without much of an impact on the wider music world.Despite a long nascent period when it appeared trance had disappeared, replaced by breakbeat dance (trip-hop and jungle), the style's increasing impact on Britain's dance scene finally crested in the late '90s. The classic German sound had changed somewhat though, and the term "progressive" trance gained favor to describe influences from the smoother end of house and Euro dance. By 1998, most of the country's best-known DJs -- Paul Oakenfold, Pete Tong, Tony De Vit, Danny Rampling, Sasha, Judge Jules -- were playing trance in Britain's superclubs. Even America turned on to the sound (eventually), led by its own cast of excellent DJs, including Christopher Lawrence and Kimball Collins.
--
I would offer suggestions, but I'm merely a dilettante in the electronic genres, sticking mainly to the mainstream, more poppish works, and more trip-hop/downtempo than anything else. I'm sure the purists can set you straight Some groups/artists I've liked:
Moby
Massive Attack
Portishead
Dot Allison
Olive
Fatboy Slim
Hooverphonic
Propellerheads
Sneaker Pimps
Chemical Brothers
Edit: Ok, I looked back up at some of the songs you've listed. I don't think you'll like any of my suggestions much But hopefully the descriptions will help you.
Club/Dance music comes in many different forms, from disco to hip-hop. Though there have been various dance crazes throughout the history of popular music, club/dance music became its own genre in the mid-'70s, as soul mutated into disco and whole clubs were devoted to dancing. In the late '70s, dance clubs played disco, but by the end of the decade, disco was mutating into a number of different genres. All of the genres were collected under the catch-all term "dance," though there were distinct differences between dance-pop, hip-hop, house, and techno, among other subgenres. What tied them all together was their emphasis on rhythm -- in each dance subgenre, the beat remains all-important.
House music grew out of the post-disco dance club culture of the early '80s. After disco became popular, certain urban DJs -- particularly those in gay communities -- altered the music to make it less pop-oriented. The beat became more mechanical and the bass grooves became deeper, while elements of electronic synth pop, Latin soul, dub reggae, rap, and jazz were grafted over the music's insistent, unvarying four-four beat. Frequently, the music was purely instrumental and when there were vocalists, they were faceless female divas that often sang wordless melodies. By the late '80s, house had broken out of underground clubs in cities like Chicago, New York, and London, and had begun making inroads on the pop charts, particularly in England and Europe but later in America under the guise of artists like C+C Music Factory and Madonna. At the same time, house was breaking into the pop charts; it fragmented into a number of subgenres, including hip-house, ambient house, and most significantly, acid house (a subgenre of house with the instantly recognizable squelch of Roland's TB-303 bass-line generator). During the '90s, house ceased to be cutting-edge music, yet it remained popular in clubs throughout Europe and America. At the end of the decade, a new wave of progressive house artists including Daft Punk, Basement Jaxx, and House of 909 brought the music back to critical quarters with praised full-length works.
Techno had its roots in the electronic house music made in Detroit in the mid-'80s. Where house still had explicit connection to disco even when it was entirely mechanical, techno was strictly electronic music, designed for a small, specific audience. The first techno producers and DJs -- Kevin Saunderson, Juan Atkins, and Derrick May, among others -- emphasized the electronic, synthesized beats of electro-funk artists like Afrika Bambaataa and synth-rock units like Kraftwerk. In the United States, techno was strictly an underground phenomenon, but in England, it broke into the mainstream in the late '80s. In the early '90s, techno began to fragment into a number of subgenres, including hardcore, ambient, and jungle. In hardcore techno, the beats-per-minute on each record were sped up to ridiculous, undanceable levels -- it was designed to alienate a broad audience. Ambient took the opposite direction, slowing the beats down and relying on watery electronic textures -- it was used as come-down music, when ravers and club-goers needed a break from acid house and hardcore techno. Jungle was nearly as aggressive as hardcore, combining driving techno beats with breakbeats and dancehall reggae -- essentially. All subgenres of techno were initially designed to be played in clubs, where they would be mixed by DJs. Consequently, most of the music was available on 12-inch singles or various-artists compilations, where the songs could run for a long time, providing the DJ with a lot of material to mix into his set. In the mid-'90s, a new breed of techno artists -- most notably ambient acts like the Orb and Aphex Twin, but also harder-edged artists like the Prodigy and Goldie -- began constructing albums that didn't consist of raw beats intended for mixing. Not surprisingly, these artists -- particularly the Prodigy -- became the first recognizable stars in techno.
Breaking out of the German techno and hardcore scene of the early '90s, Trance emphasized brief synthesizer lines repeated endlessly throughout tracks, with only the addition of minimal rhythmic changes and occasional synthesizer atmospherics to distinguish them -- in effect putting listeners into a trance that approached those of religious origin. Despite waning interest in the sound during the mid-'90s, trance made a big comeback later in the decade, even supplanting house as the most popular dance music of choice around the globe.Inspired by acid house and Detroit techno, trance coalesced with the opening of R&S Records in Ghent, Belgium and Harthouse/Eye Q Records in Frankfurt, Germany. R&S defined the sound early on with singles like "Energy Flash" by Joey Beltram, "The Ravesignal" by CJ Bolland, and others by Robert Leiner, Sun Electric, and Aphex Twin. Harthouse, begun in 1992 by Sven Väth with Heinz Roth & Matthias Hoffman, made the most impact on the sound of trance with Hardfloor's minimal epic "Hardtrance Acperience" and Väth's own "L'Esperanza," plus releases by Arpeggiators, Spicelab, and Barbarella. Artists like Väth, Bolland, Leiner, and many others made the transition to the full-length realm, though without much of an impact on the wider music world.Despite a long nascent period when it appeared trance had disappeared, replaced by breakbeat dance (trip-hop and jungle), the style's increasing impact on Britain's dance scene finally crested in the late '90s. The classic German sound had changed somewhat though, and the term "progressive" trance gained favor to describe influences from the smoother end of house and Euro dance. By 1998, most of the country's best-known DJs -- Paul Oakenfold, Pete Tong, Tony De Vit, Danny Rampling, Sasha, Judge Jules -- were playing trance in Britain's superclubs. Even America turned on to the sound (eventually), led by its own cast of excellent DJs, including Christopher Lawrence and Kimball Collins.
--
I would offer suggestions, but I'm merely a dilettante in the electronic genres, sticking mainly to the mainstream, more poppish works, and more trip-hop/downtempo than anything else. I'm sure the purists can set you straight
Some groups/artists I've liked: Moby
Massive Attack
Portishead
Dot Allison
Olive
Fatboy Slim
Hooverphonic
Propellerheads
Sneaker Pimps
Chemical Brothers
Edit: Ok, I looked back up at some of the songs you've listed. I don't think you'll like any of my suggestions much
But hopefully the descriptions will help you.
Last edited by RolloTomasi; 03-02-02 at 09:47 PM.
