I can’t help but get really excited when I hear an electro song creep its way into the daily minutiae of my life. While watching TV the other day I dropped my fork into my cup of Ramen and doused myself in a sodium tidal wave when I heard the Knife Party remix of Porter Robinson’s “Unison” in a movie trailer.
I screamed, “OMG! IT’S PORTER!” My excitement was short-lived however. I know I’m not the only one to be tickled pink by hearing my favorite electro song in a commercial or movie trailer. Or feel a certain sense of pride to hear that an EDM producer would be nominated by the Grammy’s, as best new artist, only to have that happy feeling followed by a sense of sadness or perhaps regret.
I’m not sure what it is, but it’s like I’m letting the world in on a secret that I only want to keep to myself.
While the mainstreaming of electronic music is great for taking it from the stereotype of drug-filled, underground warehouse parties, to a socially accepted and more widely-known music genre, it feels like it loses some of the exclusivity.
What is there to do to combat the house-music-mainstreaming-blues? I am going to assert, with some hesitation of course, that this is a good thing and we all need to embrace EDM’s new “cool kid” status.
There are some great things that can come from the explosion of EDM. Look at the laws of supply and demand. We are constantly demanding new music, and hunting Beatport for new remixes and tracks so the supply has to be increased. There is a lot of crap out there, but 2011 was a revolutionary year for EDM, and we saw some ridiculously talented producers and DJs come into their own.
Just look at teenage phenoms Porter Robinson and Eric Arbores whose music is impressive in spite of their young age.
This exponential expansion of the EDM talent pool is in part due to the mainstreaming movement of EDM that occurred this past year. As diehard fans and listeners of the music, we are the clear beneficiaries.
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