Wednesday, August 28, 2013

EDM: Some thoughts, Some Edits!

If you're in Philadelphia tonight, catch DJ Isaac Jordan and Wiz Khalifa's Tour DJ, DJ Bonics at Ten-Six Tonight!
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The 'nightlife industry' has always played a role in shaping the political economy and social environment present in any given city.  Shifts and changes within the industry are reflected in the broader cultural sphere, and vice-versa.  One telling example is Vegas.  The New York Times writes:
"After years on the margins, the blaring, pulsating sound of electronic dance music is ascendant, and Las Vegas has embraced the trend the only way it knows how: by going all in. Casino nightclubs that a few years ago were devoted to hip-hop now compete to sign dance acts to million-dollar contracts, and they market these once invisible musicians as superstars. Along the Las Vegas Strip, billboards advertise top D.J.’s like TiĆ«sto and Steve Aoki, alongside David Copperfield and Cirque du Soleil.
“Las Vegas is the new Ibiza,” said Patrick Moxey, the founder of Ultra Records, a leading independent dance label, referring to the hedonistic dance mecca in Spain."
 Much has been said on 'EDM' as a new-age (largely manufactured) cultural phenomenon (see this article posted over at DiscoDemons).  Going beyond the argument that 'EDM' is a reductive phrase created by marketing execs to package and brand a multitude of vibrant musical subcultures, what does the hegemony of 'EDM' mean for the working club DJ? How does it effect the over-arching trends we're seeing with pop music? Better yet, do we even care?

Perhaps I'm more cynical than most.  I don't like the fact that the words "rave" and "frat boy" are becoming synonymous.  At the same time, the fact that pop music has essentially shifted towards (or incorporates elements of) 'EDM' means that I can 'break records' and incorporate 'house' music (and a slew of other 'electronic' sub-generes) into my sets with ease.  However, it still bothers me when when I see clubs and promoters trying to cash-in on the 'EDM' trend by hiring cut-rate bottom-feeding DJ's that smash the Beatport top-20 together at 128 BPM all night in internal mode.

There is a time and place for big-room house and festival trap. Pro-tip: it's not 11pm.

I am still trying to wrap my head around these issues.  The flows of influence are complex, and touch on issues of integrity, commodification, and respect for DJ'ing as an art and culture. Whether or not we can find common ground on the issues (or the answers), it is important to have this discussion when it matters - right now.

Then again, people are still dancing, right?
'PLUR,' Bro.

[If you're also feelin' salty about the status-quo holler at your boy: @DJALYKHAN on Twitter. Misery loves company.]


Enjoy these fresh EDM edits by 2000Down founder, DJ Isaac Jordan:


#Beautiful (Sidney Samson Remix) (Isaac Jordan Edit) - Mariah Carey
Airport (Isaac Jordan Edit) - Ummet Ozcan
Cango (Isaac Jordan Island Edit) - Pelari
Legacy (Isaac Jordan Edit) - Nicky Romero vs. Krewella
Monkey In Love(Isaac Jordan Edit) - Tommy Trash
Weapon (Vicetone Remix) (Isaac Jordan Edit) - Cazzette

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1 comment:


tell em how you really feel Alykhan lol