The Electronic Music Blog

Beat-Baktus-Bluster: a blog around the progression of electronic music.

The earliest forms of electronic music were invented around the turn of the 20th century—40 years before the first commercial synthesizer was on the market.

Yet, for decades it remained an obscure genre. Only in the 1990s did electronic music become mainstream, with artists such as Daft Punk, The Chemical Brothers and The Prodigy hitting the charts.

A lot has changed since then. There has been a proliferation of subgenres: progressive house, minimal techno, psytrance, jungle, and many more. Music used to revolve around producers like Aphex Twin or Tiesto; today fans are more likely to be familiar with labels such as Warp or Ninja Tune.

This blog is about contemporary electronic music: how it has evolved over the past two decades and where it might be heading next. I’ll look at new albums released by established acts and new artists whose names you might not have heard yet. I’ll also post articles that shed light on aspects of this field that are often overlooked: its history and its place in art and culture more broadly.

An investigation of the current trends in electronic music and the creation of new music.

As a music artist you need to keep up with the latest technologies to create new and exciting sounds for your productions. This can be an extremely daunting task. The purpose of this blog is to help you navigate the world of synthesizers, effects units, and other important tools that can take your music to the next level.

We create original content that will help you understand what it takes to make music in today’s electronic age. From how to use electronic instruments to how they work. We will provide you with the knowledge and skills necessary to be successful.

The problem with electronic music is that you can’t tell what a piece is supposed to sound like when it’s finished. The composers say they’re listening for an ideal version of the piece, and that they’ll know it when they hear it. The ideal version is the one where every sound is in exactly the right place and every beat lines up perfectly. But that version never happens, so they wind up producing something a little bit off.

They have to make do with whatever sounds are available to them. And sometimes the sounds are just wrong, no matter how hard they try. Every time I listen to electronic music I think, “Hey, maybe this time they’ll get it right!” But then I realize that there’s nothing wrong with the music, and it’s just that my ears aren’t attuned to whatever frequency the artist is working at. It’s like if you walked into a room full of people whispering and thought, “What did everyone just say?”

It does make me wonder about what other genres of music would be like if we had computers that could replicate any sound imaginable. Would we all be listening to perfect-sounding recordings of our favorite songs? Or would we find ourselves drawn instead toward imperfections in order to add some human element back

At the turn of the century, electronic music was still largely a fringe phenomenon. The majority of it’s exponents were working in isolation from one another, and indeed from an audience, albeit not always by choice. Some composers had been aware of their predecessors work but many more had not. However there was a growing awareness that electronic music was becoming a field in it’s own right.

Luigi Nono (1924-1990) wrote his first major electronic piece “La Fabbrica Illuminata” in 1964 for magnetic tape alone. His next piece with electronics “Incontri” (1968) consisted of tape loops played at quarter speed and mixed with recorded speech and bird song. He then went on to use electronics in conjunction with conventional orchestral instruments in pieces such as “Prometeo” (1983). His later work displays an increasing concern with form and structure.

The music industry is in a very strange place at the moment, and i mean that in a good way. It seems as though it is constantly evolving and shifting, attempting to find its feet in a new and strange world. The internet has meant that the music industry has been forced to adapt, no longer can you just put out an album and expect it to sell. You have to be willing to put your music out there for free, so that people can share and download it.

It’s not all bad though, the internet has opened up music to a whole new audience. Before, if you were a band in a small town with no money, your only option was to hope someone would discover you and sign you up. But now with sites like youtube and bandcamp you can get your music out there on the same level as everyone else. People are now streaming live shows on sites like stickam and justin tv meaning that anyone can become a global star overnight.

In my opinion this is actually quite good for artists, because it means they have more of an incentive to put their work out there for everyone to see. They don’t need some big record label backing them up anymore, they have their fans who will support them through everything. As long as they

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