kziller

I’m confused why you took such offense to that, I was just trying to give you the benefit of the doubt that perhaps you were exaggerating on your distaste for modern dance music. Maybe I misspoke.

If you’re aware of the evolution and still connected to the music scene, I am not sure how you could look at the state of electronic music today and not find a slew of artists and albums released in the past twenty years that at the very least pique your interest. Just in the Detroit milieu (since you mentioned Robert Hood in another comment), artists continue to innovate on the Detroit minimal sound (Omar S, Theo Parrish, Kyle Hall, among others), electro (DJ Stingray, The Other People Place). Admittedly some of these were also releasing music in the 90s…but they didn’t stop then.

Since 2000, we’ve seen the creation of dubstep and footwork (RIP DJ Rashad), and then seen the sounds created in those genres incorporated into the jungle/drum and bass sound among others to create a very fun and interesting array of artists (check out the Astrophonica or Hyperdub labels if you haven’t)

To give you an overview of the entirety of innovative and interesting music that has come out recently would be near impossible because there is _so_ much of it, I don’t know all of it, and I’m nowhere near a musicologist. But even not having sold music for any years of my life, the idea that there is not interesting electronic dance music being released today is laughable. Where should you be looking? Everywhere. Any sound you have ever been interested in probably has people releasing new and interesting music in it all the time. Popularity waxes and wanes but people don’t stop creating.

I hope you know this already, but just because making dance music became more accessible and it took more time to find the stuff you liked does not mean that it stopped existing. All of the 90s sounds that you've loved have evolved, been rediscovered, died out, evolved again. New genres have been made and then fallen out of fashion. By volume, there is probably more amazing dance music being made now than ever before _because_ it has become so much easier to make, not in spite of it. Not only that, it is probably easier than ever before to discover all of it. That obviously benefits someone just listening to the music, but also all those producers now have access to previously hard to find regional sounds and so the past decade in electronic music is defined largely (just like lots of other genres) by a massive cross-pollination, deconstruction, and incorporation of global dance sounds into new and insanely creative music.

What do they use all of these subdomains for? While it’s interesting that they have so many I’m not sure I’m understanding their purpose beyond the obvious customer subdomains.