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Electro (music)

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(Redirected fromElectro-funk)
Not to be confused withElectro house.
Electro
Other namesElectro-funk, electro-boogie
Stylistic origins
Cultural originsEarly 1980s,[1]Europe, Japan, U.S. (New York City,Detroit)
Derivative forms
Subgenres
Fusion genres

Electro(orelectro-funk)[3][4]is agenreofelectronic dance musicdirectly influenced by the use of theRoland TR-808drum machines,[5][6]with an immediate origin in earlyhip hopandfunkgenres.[7][8]Records in the genre typically feature heavy electronic sounds, usually without vocals; if vocals are present, they are delivered in a deadpan manner, often through electronic distortion such asvocodingandtalkboxing.It palpably deviates from its predecessorboogieby being less vocal-oriented and more focused on electronic beats produced by drum machines.

Following the decline ofdiscomusic in the United States, electro emerged as a fusion offunk[9]and earlyhip hopwith principal influences from New York boogie, and German and Japanese electronic pop music. The genre emerged with musiciansArthur Baker,Afrika Bambaataa,Warp 9,andHashim.Seminal electro tracks included "Planet Rock"(1982) and"Nunk"(1982), both featuring its characteristic TR-808 drum beats.

The early 1980s were electro's mainstream peak. By the mid-1980s, the genre moved away from its electronic and funk influences, using harder edged beats and rock samples, exemplified byRun DMC.Electro became popular again in the late 1990s with artists such asAnthony Rotherand DJs such asDave Clarke.[10]A third wave of popularity occurred in 2007. Electro has branched out into subgenres, includingelectrocoreandskweee.

Definition and characteristics

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An electro track example
The beat like that of a Roland TR-808 Synthesizer at 0:04 and the electronically processed vocals at 0:22 are the characteristics of the genre.
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From its inception, one of the defining characteristics of the electro sound was the use ofdrum machines,particularly theRoland TR-808,as the rhythmic basis of the track. As the genre evolved, computers and sampling replaced drum machines in electronic music, and are now used by the majority of electro producers. It is important to note, that although the electro of the 1980s and contemporary electro (electronic dance music) both grew out of the dissolution of disco, they are now different genres.

Classic (1980s) electro drum patterns tend to be electronic emulations ofbreakbeatswith a syncopated kick drum, and usually a snare or clap accenting the backbeat. The difference between electro drumbeats and breakbeats (or breaks) is that electro tends to be more mechanical, while breakbeats tend to have more of a human-like feel, like that of a live drummer. The definition however is somewhat ambiguous in nature due to the various uses of the term.[11]

TheRoland TR-808drum machine was released in 1980, defining early electro with its immediately recognizable sound. Staccato, percussive drumbeats tended to dominate electro, almost exclusively provided by the TR-808. As an inexpensive way of producing a drum sound, the TR-808 caught on quickly with the producers of early electro because of the ability of itsbass drumto generate extreme low-frequencies.[12]This aspect of the Roland TR-808 was especially appealing to producers who would test drive their tracks in nightclubs (like NYC's Funhouse), where the bass drum sound was essential for a record's success.[13]Its unique percussion sounds like handclaps, open and closed high-hat, clave and cowbell became integral to the electro sound. A number of popular songs in the early 1980s employed the TR-808, including Marvin Gaye's “Sexual Healing,” Cybotron's “Clear,” and Afrika Bambaataa's “Planet Rock.”[14]The Roland TR-808 has attained iconic status, eventually being used on more hits than any other drum machine.[15]Through the use of samples, the Roland TR-808 remains popular in electro and other genres to the present day.

Other electro instrumentation was generally electronic, favoringanalog synthesis,programmed bass lines, sequenced or arpeggiated synthetic riffs, and atonal sound effects all created withsynthesizers.Heavy use of effects such asreverbs,delays,chorusorphasersalong with eerie synthetic ensemble strings or pad sounds emphasized thescience fictionorfuturisticthemes of classic (1980s) electro, represented in the lyrics and/or music. Electro hip hop groupWarp 9's 1983 single,Light Years Away,produced and written byLotti Goldenand Richard Scher, exemplifies theSci-Fi,afrofuturistaspect of electro,[16]reflected in both the lyrics and instrumentation. The imagery of its lyrical refrainspace is the place for the human racepays homage toSun Ra's 1974film of the same name,[17]while its synth lines and sound effects are informed by sci-fi, computer games, and cartoons, "born of a science-fiction revival.".[16]: 148 

Most electro is instrumental, but a common element is vocals processed through avocoder.Additionally,speech synthesismay be used to create robotic or mechanical lyrical content, as in the iconicPlanet Rockand the automatous chant in the chorus ofNunkbyWarp 9.[18]Although primarily instrumental, early electro utilized rap. Male rap dominated the genre, however female rappers are an integral part of the electro tradition, whether featured in a group as inWarp 9or as solo performers likeRoxanne Shante.The lyrical style that emerged along with electro became less popular by the 1990s, as rapping continued to evolve, becoming the domain ofhip hop music.

About electro origins:

It was all about stretching the boundaries that had begun to stifle black music, and its influences lay not only with German technopop wizardsKraftwerk,the acknowledged forefathers of pure electro, plus British futurist acts like theHuman LeagueandGary Numan,but also with a number of pioneering black musicians. Major artists likeMiles Davis,Sly Stone,Herbie Hancock,Stevie Wonder,legendary producerNorman Whitfieldand, of course,George Clintonand his P Funk brigade, would all play their part in shaping this new sound via their innovative use ofelectronic instrumentsduring the 70s (and as early as the late 60s in Miles Davis’s case).

— Greg Wilson

Gary Numan. Man he was dope. So important to us. When we heard that single, "Are Friends Electric?" it was like the aliens had landed in the Bronx. We were just throwing shapes to this tune, man. More than Kraftwerk. Numan was the inspiration. He's a hero. Without him, there'd be no electro.

— Afrika Bambaataa[19]

History

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Afrika Bambaataa(left) in 2004

Following the decline ofdiscomusic in the late 1970s, various funk artists such asZappbegan experimenting withtalk boxesand the use of heavier, more distinctive beats.Boogieplayed a role during the formative years of electro, notably "Feels Good" by Electra (Emergency– EMDS-6527),[20]thepost-discoproduction "You're the One for Me"byD. Train(Prelude – PRL D 621),[20]and theEric Matthew/Darryl Payneproductions "Thanks to You"bySinnamon(Becket – BKD 508),[20]and "On A Journey (I Sing The Funk Electric)" by Electrik Funk (Prelude – PRL D 541).[20]Electro eventually emerged as a fusion of different styles, includingfunk,boogie combined with German and Japanesetechnopop,in addition to influences from thefuturismofAlvin Toffler,martial arts films,andvideo game music.The genre's immediate forebears includedKraftwerkandYellow Magic Orchestra(YMO).[9]

In 1980, YMO was the first band to utilize the TR-808 programmable drum machine.[21][22]That same year, YMO memberRyuichi Sakamotoreleased "Riot in Lagos", which is regarded as an early example of electro music,[23][24]and is credited for having anticipated the beats and sounds of electro.[1]The song's influence can be seen in the work of later pioneering electro artists such as Afrika Bambaataa[1]andMantronix.[24]

1982 was a watershed year for electro.Bronxbased producerAfrika Bambaataareleased the seminal track "Planet Rock",which contained elements of Kraftwerk's"Trans-Europe Express"(from thealbum of the same name) and "Numbers" (from Kraftwerk's 1981Computer Worldalbum)[4][1][25]combined with the use of distinctive TR-808 beats.[1]"Planet Rock" is widely regarded as a turning point in the electro genre, "like a light being switched on."[16]: 146 [26]Another groundbreaking record released that year,NunkbyWarp 9utilized "imagery drawn from computer games and hip hop slanguage."[16]Although remaining unreleased, a pre-Def JamRussell SimmonsproducedBruce Haack's proto hip-hop single "Party Machine" at a studio in Philadelphia. Electro hip hop releases in 1982 include songs by:Planet Patrol,Warp 9,Man Parrish,George Clinton(Computer Games),Grandmaster Flash and the Furious Five,Tyrone Brunson,The Jonzun CrewandWhodini.[16]

In 1983,Hashimcreated the influential electro funk tune "Al-Naafiysh (The Soul)"which became Cutting Record's first release in November 1983.[27]At the time Hashim was influenced byMan Parrish's "Hip Hop, Be Bop",Thomas Dolby's "She Blinded Me With Science"and Afrika Bambaataa's" Planet Rock ".[28]"Al-Nafyish" was later included inPlaygroup'scompilation albumKings of Electro(2007), alongside other electro classics such as Sakamoto's "Riot in Lagos".[29]Also in 1983,Herbie Hancock,in collaboration withGrand Mixer D.ST,released the hit single "Rockit".

Bambaataa and groups likePlanet Patrol,Jonzun Crew,Mantronix,Newcleus,Warp 9andJuan Atkins'Detroit-based groupCybotronwent on to influence the genres ofDetroit techno,ghettotech,breakbeat,drum and bassandelectroclash.Early producers in the electro genre (notablyArthur Baker,[30]John RobieandShep Pettibone) later featured prominently in theLatin Freestyle(or simply "Freestyle" ) movement, along withLotti Goldenand Richard Scher (the producer/writers ofWarp 9) fusing electro, funk, and hip hop with elements of Latin music.[16]

By the late 1980s, the genre evolved into what is known today asnew school hip hop.The release ofRun DMC'sIt's Like That(1983) marked a stylistic shift, focusing down on the beats in a stark, metal minimalism.[16]: 151 Rock samples replaced synthesizers that had figured so prominently in electro, and rap styles and techniques evolved in tandem, anchoring rap to the changing hip hop culture.[31] Baker, Pettibone, Golden and Scher enjoyed robust careers well into the house era, eluding the "genre trap" to successfully produce mainstream artists.[32]

Throughout the 1990s and early 2000s, Detroit Techno musicians James Stinson andGerald Donaldreleased numerous EPs, singles and albums of conceptual electro music under several different aliases. Their main project,Drexciyais known for exploration ofscience fictionand aquatic themes.

Electro-soul

[edit]
Electro-soul
Stylistic origins
Cultural originsEarly 1980s
Regional scenes
Other topics
New jack swing,hip hop soul

In the early 1980s, Detroit techno DJEddie Fowlkesshaped a related style called electro-soul, which was characterized by a predominant bass line and a chopped up electro breakbeat contrasted withsoulfulmale vocals.[33]Kurtis Mantronik's electro-soul productions forJoyce Simspresagednew jack swing's combination of hip hop and soul elements.[34]In a 2016 profile on the genre's rise in Denver's music scene, Dylan Owens ofThe Denver Postwrites, "As with all fledgling genres, little about electro-soul is defined — even what to call it. (Of the eight artists interviewed for this article, none agreed on any one name.) But what does seem sure is its rise, especially locally. If Denver can be known as the musical torchbearer of any genre, it's electro-soul's half-live, half-produced swirl of hip-hop, soul, funk and jazz."[35]

"No Self Control"byPeter Gabriel,taken from his1980 self-titled album,has been described as electro-soul,[36]fused withart rock.[37]

Contemporary electro

[edit]
See also:Electroclash,Electro house,andSkweee
"Electrocore" redirects here. For the company, seeElectroCore.For the fusion genre ofmetalcoreand/orpost-hardcorewith elements of variouselectronic musicgenres, seeElectronicore.

Although the early 1980s were electro's heyday in the mainstream, it enjoyed renewed popularity in the late 1990s with artists such asAnthony Rotherand DJs such asDave Clarke,and has made yet another comeback for a third wave of popularity in 2007. The continued interest in electro, though influenced to a great degree by Florida, Detroit, Miami, Los Angeles and New York styles, has primarily taken hold in Florida and Europe with electro club nights becoming commonplace again. The scene still manages to support hundreds of electro labels, from the disco electro of Clone Records, to theold schoolb-boystyles of Breakin’ Records and Dominance Electricity, to the electrofunk of Citinite, and to harder more modern styles of electro of labels like Bass Frequency Productions and Nu Illusion Music.

New branches of electro have risen over the last couple of years. Florida has pioneered the "Electrocore" sound, started in the late 1990s by artists like Jackal and Hyde and Dynamix II and carried on to this day.Skweeeis a genre which developed in Nordic countries such asSwedenandFinland,hence its first name "Scandinavian Funk". The outlets and artists of Skweee are still mostly limited to the Nordic countries.

From the late 1990s onward, the term "electro" is also used to refer two other fusion genres of electro, either blended withtechnoandnew waveinelectroclash,[38][39]In 2006,Direct Influence,a 6-pieceMelbournebased electro/rock/reggae group was formed.[40]

The genre enjoyed a resurgence from 2016 onwards, with DJs like Helena Hauff and DJ Stingray gaining more popularity and festivals like Dekmantel featuring it prominently on their lineups. Labels like Cultivated Electronics, CPU, Mars Frequency Records, Furatena, brokntoys and Mechatronica are currently pushing a new trove of artists[41][42]which has introduced the genre to a new generation.

See also

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References

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  1. ^abcdeDavid Toop (March 1996),"A-Z Of Electro",The Wire,no. 145,retrievedMay 29,2011
  2. ^Vincent, Rickey (November 4, 2014).Funk: The Music, the People, and the Rhythm of the One.St. Martin's Publishing.ISBN9781466884526.
  3. ^"Electro-Funk: What did it all mean?".Greg Wilson on electrofunkroots.co.uk.RetrievedDecember 23,2009.
  4. ^abRap meets Techno, with a short history of Electro.Globaldarkness.com. Retrieved on July 18, 2011.
  5. ^Gavin Weale (2001)The Future Sound Of Electro.ElectroEmpire.com
  6. ^Reynolds, Simon (2013).Energy Flash: A Journey Through Rave Music and Dance Culture.Soft Skull Press.The dominant style at Hard Summer, provided by artists like Zedd, Erol Alkan and Bloody Beetroots, is what's been tagged 'electro house', although to my ears it has little relationship with either house or electro (in the original eighties 808-bass-bumping sense).
  7. ^Electro itself is a musical style blending "funk & synthesizers with elements of hip-hop", according toDent, Susie (2003).The Language Report.Oxford University Press. p.43.ISBN978-0-19-860860-8.
  8. ^Sean 'P-Ski' P (1995)Electro – What Does It Mean?.ElectroEmpire.com
  9. ^ab"Electro".Allmusic.RetrievedJune 20,2012.
  10. ^Ishkur (2005)."Ishkur's guide to Electronic Music".Archived fromthe originalon April 7, 2019.RetrievedJune 1,2014.
  11. ^Electro-Funk: What Did It All Mean?.Electrofunkroots.co.uk. Retrieved on July 18, 2011.
  12. ^"Anysound".Keyboard.Vol. 14, no. 11. 1988. p. 34.;as cited inThéberge, Paul (1997).Any sound you can imagine: making music/consuming all counts of technology.Middletown, Conn: Wesleyan University Press. pp.197.ISBN978-0-8195-6309-5.
  13. ^Harvey, Steven "The Perfect Beat" The Face Magazine, October 1983
  14. ^Dayal, Geeta (2013).The Grove Dictionary of American Music.Oxford Music Online. pp. Roland TR–808.
  15. ^Peter Wells (2004),A Beginner's Guide to Digital Video,AVA Books, p. 18,ISBN978-2-88479-037-6,retrievedMay 20,2011
  16. ^abcdefgToop, David (2000). Rap Attack 3: African Rap To Global Hip Hop. (Expanded Third Edition) Serpent's Tail, London N4 2BT p.148ISBN1-85242-627-6.
  17. ^"Space Is the Place".IMDb.com.
  18. ^Moley, Raymond; Phillips, Joseph Becker; Muir, Malcolm; Smith, Rex; Williamson, Samuel Thurston (November 20, 1983)."Newsweek".Newsweek, Incorporated – via Google Books.
  19. ^Butler, Mark J. "Electronica, Dance and Club Music" (2017).page 456,Routledge.ISBN9781351568548.
  20. ^abcdDavid Pattie, Sean Albiez (2011).Kraftwerk: Music Non-Stop.A&C Black, 2011. p. 728.ISBN9781441191366.
  21. ^Mickey Hess (2007),Icons of hip hop: an encyclopedia of the movement, music, and culture, Volume 1,ABC-CLIO,p. 75,ISBN978-0-313-33903-5,retrievedMay 29,2011
  22. ^Jason Anderson (November 28, 2008)."Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine".CBC News.RetrievedMay 29,2011.
  23. ^Broughton, Frank (2007).La historia del DJ / The DJ's Story, Volume 2.Ediciones Robinbook. p. 121.ISBN978-84-96222-79-3.RetrievedMay 25,2011.
  24. ^ab"Kurtis Mantronik Interview",Hip Hop Storage,July 2002, archived fromthe originalon May 24, 2011,retrievedMay 25,2011
  25. ^William Eric Perkins (1996),Droppin' science: critical essays on rap music and hip hop culture,Temple University Press,p. 12,ISBN978-1-56639-362-1,retrievedMay 26,2011
  26. ^Sicko, D.,Techno Rebels: The Renegades of Electronic Funk,Billboard Books, 1999 (ISBN978-0823084289), p. 73.
  27. ^Kellman, A. (2007).Hashim Biography.All Media Guide. Retrieved September 6, 2007, from[1]
  28. ^Hashim (2000)."Hashim interview".ElectroEmpire.com(Interview). Interviewed by Rascal. Archived fromthe originalon June 5, 2008.RetrievedSeptember 5,2007.
  29. ^Kings of ElectroatAllMusic
  30. ^When The Planet Rocked.Electrofunkroots.co.uk. Retrieved on July 18, 2011.
  31. ^"Electro".AllMusic.RetrievedOctober 4,2014.Despite its successes (documented in full on Rhino's four-disc Electric Funk set), the style was quickly eclipsed by the mid-'80s rise of hip-hop music built around samples (often from rock records) rather than musical synthesizers.
  32. ^Miami Gets Put On the Musical Map.ElectroEmpire.com
  33. ^King, SB (2003). "The Fader".The Fader.No. 16–17. p. 188.
  34. ^Shapiro, Peter(2005).The Rough Guide to Hip-Hop(2nd ed.).Rough Guides.p. 2005.ISBN978-1843532637.
  35. ^Owens, Dylan (December 29, 2016)."How electro-soul found its home in Denver's 'middle of nowhere' music scene".The Denver Post.RetrievedNovember 10,2022.
  36. ^Thomson, Graeme (October 30, 2015)."Peter Gabriel - the first four solo albums remastered".
  37. ^"The Quietus | Features | Anniversary | Peter Gabriel 3: Melt 40 Years On By Chris Roberts".The Quietus.
  38. ^Dorian Lynskey (March 22, 2002)."Out with the old, in with the older".The Guardian.
  39. ^"The Electroclash Mix by Larry Tee".Ew.com.Archived fromthe originalon September 30, 2012.RetrievedFebruary 25,2021.
  40. ^Rhythm & Vines (November 2010)."Direct Influence".Rhythm & Vines. Archived fromthe originalon 2 December 2010.Retrieved2011-03-01.
  41. ^"The return of electro".Djmag.com.August 25, 2017.RetrievedFebruary 25,2021.
  42. ^"The rise and rise of electro".Mixmag.net.RetrievedFebruary 25,2021.
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