|Cultural origins||Late 1990s – early 2000s, Europe|
Electro house is a genre of electronic dance music characterized by heavy bass and a tempo around 130 beats per minute. Its origins were influenced by tech house and electro. The term has been used to describe the music of many DJ Mag Top 100 DJs, including Benny Benassi, Daft Punk, Skrillex, and Steve Aoki.
Electro-house is typified by its heavy bass. This is often in the form of buzzing basslines, such as those created with sawtooth waves and distortion. It is also often in the form of large bass drum sounds in a four-on-the-floor pattern. The tempo of electro house is usually between 125 and 135 beats per minute. Electro house sometimes resembles tech house, but it can contain melodic elements and electro-influenced samples and synths.
In his book on rave music and dance culture, Simon Reynolds described electro house, a style attributed to artists like Zedd, Erol Alkan and Bloody Beetroots, as sounding like it had "little relationship with either house or electro". Reynolds described the sound as being influenced by Discovery by Daft Punk and further developed by Justice and Digitalism. The sound was popularized in the United States by deadmau5 and noted the style's distinct style had a "dirty bass" with "grinding and whirring sawtooth b-lines".
Early songs that have been labelled retroactively as electro house include "Dark Invader" (1996) by Arrivers and "Raw S*it" (1997) by Basement Jaxx. Mr. Oizo's "Flat Beat" (1999) has also been considered an early example of the genre.
Italian DJ Benny Benassi, with his track "Satisfaction" (2002), is seen[by whom?] as the forerunner of electro house who brought it to the mainstream. By the mid 2000s, electro house saw an increase in popularity. In November 2006, electro house tracks "Put Your Hands Up For Detroit" by Fedde Le Grand and the D. Ramirez remix of "Yeah Yeah" by Bodyrox and Luciana held the number one and number two spots, respectively, in the UK Top 40 singles charts. Since then, electro house producers such as Feed Me, Knife Party, The M Machine, Porter Robinson, Yasutaka Nakata and Dada Life have emerged.
In the early 2010s, a type of electro house known as big room began to develop, particularly gaining popularity through EDM-oriented events and festivals. Big room songs resemble Dutch house, often incorporating drops, minimalist percussion, regular beats, sub-bass layered kicks, simple melodies and synth-driven breakdowns. The layout of a big room track is very similar to the layout of a typical electro house song.
|Cultural origins||Late 2000s – early 2010s, United States|
Complextro is typified by glitchy, intricate basslines and textures created by sharply cutting between instruments in quick succession. The term, a portmanteau of the words "complex" and "electro", was coined by Porter Robinson to describe the music he was making in 2010. He has cited video game sounds, or chiptunes, as an influence on his music along with 1980s analog synth music. Other producers of the genre include Adventure Club, Kill The Noise, Knife Party, The M Machine, Madeon, Mord Fustang, Savant, Virtual Riot and Wolfgang Gartner.
|Cultural origins||Late 2000s, Netherlands|
Dutch house, sometimes referred to as 'Dirty Dutch', is a style of electro house that originated in the Netherlands and found prominence by 2009, mainly pioneered by Vato Gonzalez and DJ Chuckie. It is primarily defined by complex rhythms made from Latin-influenced drum kits, a lower emphasis on basslines and squeaky, high-pitched lead synths. Influences on the subgenre include Detroit techno, hip hop and other urban styles of music.
|Cultural origins||Mid 2000s, Europe|
Fidget house, or fidget, is "defined by snatched vocal snippets, pitch-bent dirty basslines and rave-style synth stabs over glitchy 4/4 beats." It contains influences from Chicago house, Detroit techno, Baltimore club, Kuduro, Pimba and hip hop. Purveyors of the genre include The Bloody Beetroots, AC Slater, Danger, Hervé, Jack Beats and Switch. The term fidget house was coined by DJs/producers Jesse Rose and Switch, "as a joke, which has now gone a little too far."
|Cultural origins||Early 2010s, Australia|
Melbourne bounce is a subgenre of electro house originating in Melbourne, Australia, characterized by the progression from the uptempo, horn-infused Dutch house style, tech trance synths, electro house stabs, and scouse House-influenced bass lines from around 128 up to 150 bpm. The term has been used[by whom?] to describe the 2012 to 2016 music of DJ/producers, including Deorro, Joel Fletcher, Will Sparks, Vinai, and TJR. The genre is generally characterized by a standard 128 bpm. It is composed of bouncy offbeat bass, whiny vocal cut/saw[clarification needed] lead, raucous horns, 8-bar snare fills before the drop. It often features a repetitive beat structure with some amount of build-ups and mild drops throughout. It started as a cross between elements of mákina, acid house, acid techno, psytrance, and underground Melbourne House/minimal style. Melbourne Bounce gained popularity around mid to late 2012 and had a steady rise from 2013. In 2014, productions of Joel Fletcher, Will Sparks, and Uberjak'd were playing both domestically and internationally, and influencing the EDM style of Steve Aoki, TJR, and more.
Jungle terror is a music genre that developed in the 2010s. It is often described as a "chaotic" mix of house with grime and drum 'n' bass rhythms. There are also animal noises as well as vocal cuts and percussions. The Dutch DJ and music producer Wiwek is named[by whom?] as the founder of the genre, who made the style popular in the EDM scene between 2013 and 2016. Skrillex, Diplo and KURA are also associated with the genre.
Moombahton came as a mixture of slowed-down Dutch house and reggaeton. Its identifying characteristics include "a thick, spread-out bass line; some dramatic builds; and a two-step pulse, with quick drum fills", but it has "no real rules beyond working within a 108 bpm range." A portmanteau of "moombah" and "reggaeton", moombahton was created by DJ Dave Nada when he slowed down the tempo of the Afrojack remix of the Silvio Ecomo & Chuckie song "Moombah" to please party-goers with tastes in reggaeton. Other producers of the genre include Dillon Francis, Diplo and Munchi.
Moombahcore is a style of moombahton with elements of breakcore, dubstep, techstep and newstyle hardcore. Characteristics of the genre include chopped vocals, dubstep-influenced bass sounds and extensive build-ups. Artists who have produced moombahcore include Delta Heavy, Dillon Francis, Feed Me, Knife Party and Noisia.
Electro House rose to prominence in the early to mid 00's as a heavier alternative to other house subgenres that were prevalent at the time. [...] Electro House usually sits somewhere between 125–135 bpm and tracks are arranged in a way that gives a large focus on the climax or drop. This usually contains a heavy bassline, and frequently includes melodic elements to help establish cohesion within the track.
Buzzing basslines, huge kicks, party rocking drops. House music packed full of gigantic bass and massive synths.
Electro house : Sometimes resembles tech house, but often influenced by the 'electro' sound of the early 1980s, a.k.a. breakdancing music, via samples or just synthesizer usage.
Many people want to find out exactly where did this style of music emerge from. There isn't any factual evidence to prove anything. As with most music history, it isn't certain. ... It is noted that about ten years ago there was a large revolutionary time in electro music being mixed with pop. At the same time tech house was gaining popularity. When the two were mixed that is when Electro House came to be the way it is now.Missing or empty
... Skrillex, a 23-year-old electro-house/dubstep producer ...
Steve Aoki’s stock has risen once again over the past 12 months as he continues to perform the biggest, most audacious EDM sets across the globe and pump out his stomping, strutting electro house productions.
Electro: 'It's meant so many things in the last 30 years. Originally, it meant futuristic electronic music and was used to describe Kraftwerk and Afrika Bambaataa. Now, it means hard electronic dance music.' Electro can be used as an adjective, such as electro-house and electro-pop.
It was in the early 2000s when a big movement of electroclash being mixed with synthpop. Meanwhile, tech house was also becoming more known and gaining some serious buzz. When the two were combined that is when Electro House came to be the way it is now. ... 'Satisfaction' was one of those songs that people would have stuck in their head for days. This song still continues to receive a lot of attention even now. It won world wide rewards as well as make Benny Benassi the father of Electro House.
The genre's name is a combination of the words 'Complex' and 'Electro' creating 'Complextro.' Producing this form of music is incredibly intricate and often requires a large amount of instruments that are layered close to each other within a piece of music sequencing software. This often results in a glitch, giving the genre its unique feel. ... Complextro is slowly gaining worldwide popularity due to high profile electronic producers such as Skrillex, Porter Robinson, and Crookers.
It is said to have elements of dubstep and fidget house.Like conducting for a punchy electro orchestra, each 'instrument' gets a moment of focus before leaping to another, uniting them all in a compelling way. YouTube generation musicologists have dubbed this sound 'complextro' (a mash-up of 'complex' and 'electro') ...
when i made [the word 'complextro'], i wanted a portmanteau to describe my sound. complex+electro=complextro. it has since become the name of the style
Known for their fusion of musical genres such as house, hip-hop, electro, urban and techno showcasing both Dutch and internationally acclaimed artists alike, the Dirty Dutch events have escalated to accommodate the huge demand, consistently selling out to tens of thousands of partygoers.[dead link]
... fidget house – a joke term made up a few years ago by Switch and Jesse Rose. ... Fidget producers like to think of themselves as global music connoisseurs, hand-picking bits from genres such as Chicago house, rave, UK garage, US hip-hop, Baltimore club, Kuduro and other 'authentic' world music genres.
... Moombahton is a cross between Dutch house music and reggaeton.
The sound has a few basic identifying characteristics: A thick, spread-out bass line; some dramatic builds; and a two-step pulse, with quick drum fills.
Nada says Moombahton has 'no real rules beyond working within a 108 bpm range.' ... Munchi, a 21-year-old Dutchman who released heavily club-influenced Moombahton tracks ...
Yep, Dillon remixes ultra-famous songs (uh, hello Justin Timberlake's "Suit & Tie"!), DJs, creates original work, helped found two little movements called "moombahton" (a fusion of house and reggaeton) and "moombahcore" (a variation of moombahton only infusing other weird phrases like gabber (newstyle hardcore), breakcore, techstep, and brostep), and he was our special correspondent at last spring's Hangout Fest!
The sound proved irresistible on the dance floor – slow and sexy like reggaeton, but hard-edged like electro house even dubstep at the same time. ... Characteristics of the Moombahcore; chopped vocals, monster dubstep basses, extended and enhanced build-ups and the introduction of fat kicks and percussion elements.