House music

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Home music is an electronic dance music genre created by club DJs and music producers in Chicago in the early 1980s. Early house music is generally characterized by repetitive 4/4 beats, especially rhythm provided by drum machines, hi-hat off-beat cymbals, and synthesized basslines. While the house features some characteristics similar to disco music, which precedes and influences it, as both are DJs and producers who create dance music, the home is more electronic and minimalist. The mechanical and repetitive rhythm of the home is one of the main components. Many instrumental home songs, without vocals; some sing along the song with the lyrics; and some have singing but no actual words.

The house music evolved in Chicago's underground dance club culture in the early 1980s, when the DJs of the subculture began to transform pop-like dance songs to give them more mechanical beats and deeper basslines. In addition, these DJs began to incorporate synth pop, rap, and even jazz into their songs. It was spearheaded by Chicago DJ and record producer Frankie Knuckles, the Chicago electronics music group house-phuture, Tennessee DJ/producer. Fingers, and US-born singer Kym Mazelle who lives in England. The genre was originally associated with Black and gay subcultures but has spread to the mainstream. From its beginnings at the Chicago club and local radio scene, the genre spread internationally to London, then to American cities like New York City and Detroit, and finally globally.

Chicago house music acted from early to mid 1980s found success on the US dance charts on Chicago's independent record labels that were more open to signing local home music artists. This same act also experienced some success in England, collecting hits in the country. Due to this success, in the late 1980s, Chicago home music suddenly found themselves offered big label deals. Music house proves to be a commercially successful genre and pop-based variations are more and more popular. From the early to mid 1990s, home music has been incorporated into mainstream pop and dance music around the world. In the 2010s, the genre, while retaining some of its core elements, especially the main drum on most beats, varies in style and influence, from feeling and atmosphere to a more minimalist home micro. The house music has also been fused with several other genres that create fusion subgenres, such as euro homes, tech houses, electro houses and jump houses. One subgenre, the acid house, is based on the deep and sharp electronic tones created by the Roland TB-303 bassline engine.

Key Actions such as Madonna, Janet Jackson, Paula Abdul, CeCe Peniston, Bananarama, Robin S., Steps, Kylie Minogue, BjÃÆ'¶rk, and CC Music Factory to name a few, all house music put into their work in the 1990s etc. After enjoying significant successes that began in the late 1980s, home music grew larger during the second wave of progressive homes (1999-2001). This genre remains popular and integrates with other popular subgenres, especially the ghetto house, deep house, future house and tech house. Starting today, home music remains popular on the radio and at the club while maintaining a foothold in underground scenes around the world.

Video House music

Characteristics

Music house was created by DJs, record producers, and musical artists, often with contributions from other players on synthesizers and other electronic instruments. The structure of house music songs usually involves intros, choirs, verses, body parts and outro. Some songs have no poems, take the vocal parts of the chorus and repeat the same cycle. The drum beats are one of the more important elements in the genre and almost always provided by electronic drum machines, usually Roland TR-808 or TR-909, not by drummer humans. The drum beats of the house are "four on the floor", with bass drums played on every beat and they usually feature the sound of an off-beat hi-hat machine drum. House music is often based on bass-heavy loops or basslines generated by synthesizers and/or from samples of disco or funk songs. One subgenre, the acid house, is based around the deep and sharp electronic tunes made by Roland's TB-303 bassline synth. The tempo of most home songs is between 118 and 135 beats per minute (bpm).

Maps House music

Influences and precursors

Various disco songs incorporate sound produced with synthesizers and electronic drum machines, and some of the composition is fully electronic; examples include late 1970s Giorgio Morodian Italian composer productions such as the hit single Donna Summer "I Feel Love" from 1977, Cerrone's "Supernature" (1977), the production of the synth-disco-pop Yellow Magic Orchestra of the Yellow Magic Orchestra (1978), Solid State Survivor (1979), and some early 1980s disco-pop production by the Lime and Trans-X Hi-NRG groups.

Soul and disco music affect home music. In addition, audio mixing and editing techniques were previously explored by discos, garage music and post-disco DJs, record producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, and the other important. These artists produce longer, more repetitive, and percussion settings from existing disco recordings. Early home producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines.

Electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an Indian ragas album that appears in disco style, anticipates the sound of acidic home music, but is unknown to have any influence on the genre before the rediscovery of the album in the 21st century.

Rachel Cain, co-founder of the influential dance label, Trax Records, was previously involved in the growing punk scene. Cain cites industry (another pioneering music genre in Chicago) and post-punk Wax Trax! Records (then record labels) as important connections between Chicago's ever-changing underground sound. Since most proto-house DJs are mainly trapped to play their conventional ensemble and playlist of dance recordings, Frankie Knuckles and Ron Hardy, two influential home music pioneers, are known for their unusual and uncommon playlists and mixings. The first, credited as "Godfather of House", works primarily with early disco music with a bit of new and different music (whether it's post-punk or post-disco) but still enjoys a variety of music, while the latter produces unconventional DIY mixtapes then played directly on the Music Music Music Box, which is boiled with raw energy. Marshall Jefferson, who will then appear with the classic Chicago house "Move Your Body (The House-Music Anthem)", (originally released on Chicago-based Trax Records) involved in house music after hearing Ron Hardy's music on the Music Box.

"I do not even like dance music before I go to the Music Box," she laughs. "I'm rock and roll We'll get drunk and listen to rock and roll We do not give ***, we like 'Disco Sucks!' and all that.I hate dance music 'cause I can not dance.I think the dance music is a bit weak, until I hear it like a Music Box volume. "

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Origins (1980s)

Chicago House

In the early 1980s, Chicago radio jocks The Hot Mix 5, and DJ clubs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco recordings (mostly Philly disco and Salsoul songs), electro funk tracks by artists such as Africa Bambaataa, newer Italo disco, Arthur Baker, and John Robie, and electronic pop. Some DJs create and play their own edits of their favorite songs on reel-to-reel tape, and are sometimes mixed in electronic effects, drum machines, synthesizers and other rhythmic electronic instrumentation. DJ Frankie Knuckles will use the rhythm and rhythm parts of the disco and R & amp songs. B, mixing it with sections of modern synthpop songs and turning them into innovative home music songs. Ron Hardy, producer and DJ spinning at the Music Box club in Chicago, using the same approach as Knuckles, combines sections of classical songs and new songs to create new songs. However, while the Knuckle home track has overall positive mood, the Hardy track has more of an edge and a faster, more energetic tempo, designed to liven up the dancers at the club.

"On and On" hypnotic dance songs, produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, have elements that are central to early home sounds, such as the Roland TB-303 bass synthesizer and minimal vocals as well as the Roland drum machine ( especially TR-808) and Korg (specifically Poly-61) synthesizers. It also makes use of the bass line of disco record of Player One "Space Invaders" (1979). "On and On" is sometimes cited as the 'first home record', though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), has also been quoted.

Beginning in the mid-1980s, some Chicago DJs began producing and releasing original compositions. This composition uses new affordable electronic instruments and other disco and dance music styles that they like. This home-based production is played on Chicago radio stations and in local clubs that cater mainly to Black and gay audience. In 1985, house music included locally produced recordings. Subgenre homes, including deep homes and acid homes, are fast emerging and gaining traction.

Home origins can be traced to the relatively jazzy Chicago Fingers producer, a loving recording of "Mystery of Love" (1985) and "Can You Feel It?" (1986). According to the author, Richie Unterberger, he moved home music from his "posthuman tendency back to" the vibrant music of early disco music.

The acid house emerges from the experiments of Chicago artists with Roland TB-303 bass synthesizer, and the origins of this style in vinyl are commonly referred to as "Acid Tracks" by Phuture (1987). Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, are credited for being the first to use TB-303 in the context of home music. The 12-minute "Acid Tracks" group was recorded onto a tape and played by DJ Ron Hardy on the Music Box, where Hardy is the resident DJ. Hardy has played it four times throughout the night until the crowd responds well. The track also uses the Roland TR-707 drum machine.

Club play home tracks by pioneering Chicago DJs like Hardy and Lil Louis, local dance record stores such as Importes Etc., State Street Records, Loop Records, Gramaphone Records and Hot Mix 5 popular performances on WBMX-FM radio stations help popularize house music in Chicago. Then, visit DJ & amp; manufacturers from Detroit fall into the genre. Trax Records and DJ International Records, a Chicago label with a wider distribution, helped popularize home music inside and outside Chicago. One 1986 song entitled "Move Your Body" by Marshall Jefferson, taken from the proper title entitled "The House Music Anthem" EP, became a big hit in Chicago and finally around the world. In 1986, the British label released home music by Chicago action, and in 1987 the house track by the Chicago DJ and producers appeared on and occupied the British music charts. At this time, home music released by a label based in Chicago is considered to be played at the club.

The origin of the term

One 2009 book states the name of home music comes from a Chicago club called The Warehouse , from 1977 to 1983. Clubbers to The Warehouse is mainly black, who came to dance for music played by DJ resident club Frankie Knuckles, whom fans call the "godfather of house". Frankie started the trend of incorporating different notes when he discovered that the records he had had were not long enough to satisfy his dancers' audience. After the Warehouse closed in 1983, the crowd went to the new club Knuckles, Power Station .

In Channel 4's Pump Up The Volume documentary, Knuckles states that the first time he heard the term "house music" was when he saw "we played house music" at a sign in the window of a bar on Chicago's South Side. One of the guys in the car with him joked, "You know it's the kind of music you play in the Warehouse!". South-Side Chicago DJ Leonard "Remix" Roy, in his self-published statement, claims that he puts a sign like that in the shop window because that's where he plays music that might be found in someone's home; in his case, this refers to his mother's soul & amp; disco record, which he did into his set. The documentary also explores how home music is something that anyone can choose and do. Most documentaries see some DJs of the genre, and how they stumble into music.

Farley Jackmaster Funk was quoted as saying: "In 1982, I was doing a DJ at a club called The Playground and there was this kid named Leonard 'Remix' Roy who was a DJ at a rival club called The Rink. to the DJ room and told me, 'I have a gimmick that will bring everyone out of your club and to me - it's called House music.' Now, from where he gets the name or what makes him think I do not know, so the answer is to him. "

The 1985 Chip E Chart "It's House" might also help define this new form of electronic music. However, Chip E. himself lends credence to the Knuckles association, claiming the name came from a recording method at the record store Importes Etc., where he worked in the early 1980s: the musical garb that DJ Knuckles played at the Warehouse nightclub was labeled in "As Heard At The Warehouse" store, shortened to "Home". The coach then asks for new music for the barrel, which Chip E. implies that the store wants to meet by spreading the hits of a newer local club. In a 1986 interview, when Rocky Jones, a DJ club running D.J. An international record label, asked about the moniker "home", he did not mention Import Etc, Frankie Knuckles, or Warehouse by name. However, he agrees that "home" is a catch-all term for dance music, and it was once synonymous with older disco music, before it became a way of referring to "new" dance music.

Larry Heard, aka "Mr. Fingers", claimed that the term "house" became popular because many early DJs created music in their own home studios using synthesizers and drum machines, such as the programmable Roland TR-808 drummer, TR-909, and synth line bass 303 TB. This synthesizer is used to create a home subgenre called acid house. Juan Atkins, a Detroit techno musician, claims the term "home" reflects the exclusive association of certain tracks with certain clubs and DJs; the notes help distinguish clubs and DJs, and are thus regarded as their "home" record. In an effort to maintain the exclusive, the DJs are inspired to make their own "home" notes.

The lyrical themes

The home lyrics contain positive and uplifting messages for everyone, from every different way of life but speaking primarily to those who are considered outcasts, especially African-Americans and gay subcultures. In addition, home music lyrics encourage unity and call on people of all ethnic groups and backgrounds to unite. The world of home music dance was one of the most integrated and progressive spaces in the 1980s; gays, blacks, and other minority groups are able to dance together in a positive environment. Frankie Knuckles once said that the Warehouse Club in Chicago is like a "church for people who have fallen from grace". The home recording producer, Marshall Jefferson, compares it to "the old religion in the way people just feel happy and screamin '". Home lyrics also contain a message that calls for equality for the black community. However, not all home music songs have vocals, and in some cases, vowels do not have words, because the most important element in the home is the rhythm and rhythm. This is in stark contrast to pop music, which puts forward vocal melodies and song lyrics. Regional landscape (1980s 1990)

Voices Detroit: 1986-1989

Detroit Techno is a branch of Chicago home music that was developed in the early and mid 1980s. One of the earliest hits is "Big Fun" by Inner City. Detroit Techno was developed as DJ The Electrifying Mojo performs its radio program, which brings together an eclectic sound into Detroit techno techno sound. This sound, also influenced by European electronica (Kraftwerk, Art of Noise), Japanese synthpop (Yellow Magic Orchestra), early B-boy (breakdance) Hip-Hop (Man Parrish, Soul Sonic Force) and Italo disco (Doctor's Cat, Ris , Klein MBO), spearheaded further by Juan Atkins, Derrick May, and Kevin Saunderson, known as the Belleville Three.

Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on the May label "Transmat Records", which helped start the Detroit techno music scene. The record is played at mix mix Mix Radio Mix Chicago and at the Chicago club. A year later, Transmat released "Strings of Life". Transmat Records was also released like "Wiggin" 1988. In addition, Derrick May has a release on Kool Kat Records and many remixes for underground and mainstream record artists. Kevin Saunderson's KMS Records contributed as many releases as home music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.

Blake Baxter 1986 recording, "When We Used to Play/Work Your Body", 1987 "Bounce Your Body to the Box" and "Force Field", "The Sound/How to Play our Music" and "The Flow That Will Not Stop" and remix of "Grooving Without a Doubt". In 1988, when home music became more popular among the general audiences, Inner Saunderson's Inner City group with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which were eventually captured by Virgin Records. Each EP/12 inch single sported remix by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins from Detroit. In 1989, KMS released another album "Rock to the Beat" which is a theme in Chicago dance clubs.

The Detroit Techno scene also meets with some conflicts. Reynold "A Tale of Three Cities" discusses the acceptance and inclusion of marginalized groups within each genre of Techo, House, and Garage. Detroit became a richer black man's youth trying to prevent the ghetto youth enjoying Techno. Comparing it to the religious protection that House provides, Chicago becomes a true "home" for the black and gay community in Chicago.

English: 1986-early 1990s

With home music that was already important in the dance club scene of the 1980s, the house finally penetrated the British pop charts. DJ London "Evil" Eddie Richards spun at the dance party as a resident at Clink Street club. Richards's approach to home focuses on a deep baseline. Nicknamed the English "Godfather of House", he and Clink co-resident Kid Batchelor and Mr. C played a key role at home early England. The first house mapped in England in Wolverhampton follows from the success of the North Soul scene. The record is generally credited as the first home hit in the UK is the "Fun Can Turn Around" Farley "Jackmaster" Funk, which reached # 10 on the UK singles chart in September 1986.

In January 1987, Chicago DJ/artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK, suggesting it was possible for home music to achieve successful crossover on the pop charts. The same month saw Raze entering the top 20 with "Jack the Groove", and several other home hits reached the top ten of the year. Stock Aitken Waterman (SAW) is produced costly for Mel and Kim, including the number one hit "Respectable", adding home elements to their previous Europop sound. Session group SAW Mirage scored top-ten hits with "Jack Mix II" and "Jack Mix IV", a medley of previous electro and Europop hits that were rearranged in the home music style. Key labels in the resurgence of home music in the UK include:

• Jack Trax, specializing in licensing US club hits for the UK market (and releasing a series of influential compilation albums)
• Rhythm King, which is assigned a hip hop label but also issued a home note
• Records of Jie Records' Club Records

In March 1987, a UK tour of influential US DJs such as Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis, on the DJ International Tour increasing the popularity of homes in the UK. Following the success of MARRS number one "Pump Up The Volume" in October, from 1987 to 1989, England acted like The Beatmasters, Krush, Coldcut, Yazz, Bass Bass, S-Express, and Black Box Italy opened the door to the successful home of music on the UK charts. The early English house music quickly broke away from the sounds of the original Chicago home. Many of the earliest hits are based on montage samples, and unlike the soulful vocals of the US, in UK homes, rap is often used for vocals (much more than in the US), and humor and intelligence are important elements.

The second best-selling British single in 1988 was a recording of acid house, produced by Coldcut "The Only Way Is Up" by Yazz. One of the club's original anthem, "Promised Land" by Joe Smooth, was covered and mapped within a week by the British band The Style Council. The Europeans embraced the house, and began ordering an important American house DJ to play in big clubs, such as the Ministry of Sound, whose inhabitants Justin Berkmann brought in US pioneer Larry Levan. In the late 1980s, American-born singer Kym Mazelle moved to London to sign a record deal with EMI Records and her first album Brilliant! in 1989, which is based on home music. Single Mazelle "Wait!" featuring Robert Howard being one of the first international home hits.

The home music club scene in cities like Birmingham, Leeds, Sheffield, Wolverhampton and London is provided with dance tracks by many underground Radio Pirate stations. Club DJ also brings a new home style, which helps improve the music genre. The earliest British homes and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat notes) helped introduce American and then Italian dance music to England. These labels also promote the British dance movement. In the late 1980s, DJ UK JenÃÆ'¶, Thomas, Markie and Garth moved to San Francisco, and called their group the Wicked Crew. Cricked's Crew's dance voice transmits the British style to the US, which helped spark the birth of the US west coast rave scene.

House is also being developed by DJs and record producers in the booming dance club arena in Ibiza. Although no artist or house label came from this small island at the time, mixing experiments and innovations conducted by DJ Ibiza helped influence the style of the house. In the mid-1980s, different Balearic mixed houses could be seen. Some influential clubs in Ibiza, like Amnesia, with DJ Alfredo on the deck, play a mix of rock, pop, disco and home. These clubs, fueled by their distinctive voice and excessive consumption of the Ecstasy drug club (MDMA), began to influence the British scene. At the end of 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling brought Ibiza's sound to the main English clubs like HaÃÆ'§ienda in Manchester. Ibiza's influence also spread to DJs who worked in London clubs such as Shoom in Southwark, Heaven, Future, and Spectrum.

In the US, home music is evolving into a more sophisticated sound, moving beyond the scroll of the imperfect drum machine and a brief example that characterizes early US homes. In Chicago, Marshall Jefferson formed the Ten City home group with Byron Burke, Byron Stingily & amp; Herb Lawson (from "Intensity"). New York City-based players such as Mateo & amp; Matos and Blaze have produced disco-infused home tracks. In Detroit the sound of proto-techno music began to appear with DJ recording and mixed Juan Atkins, Derrick May and Kevin Saunderson.

Atkins, a former member of Cybotron, released "No UFO" as a Model 500 in 1985, which became a regional hit. Atkins follows this with dozens of songs in Transmat, Metroplex, and Brittle. One of the most unusual songs is "Strings of Life" by Derrick May (with the name Rhythim Is Rhythim), a darker and more intellectual home strain. "Techno-Scratch" was released by Knights Of The Turntable in 1984 which has a techno sound similar to Cybotron. The factory nightclub manager and co-owner of HaÃÆ'§ienda, Tony Wilson, also promotes acid house culture on his weekly TV show. The British Midlands also embraced the late 1980s house scene with illegal parties and raves and more legal dance clubs like The Hummingbird.

US: the late 1980s early 1990s

Back in America, the scene still has not grown beyond a few clubs in Chicago, Detroit, Newark, and New York City. Newark DJ Tony Humphries territory is influenced by disco pioneer David Mancuso, the host of the disco-era underground gay subculture parties. Humphries plays his mix at Club Zanzibar in Newark NJ, where he developed his signature "Jersey Sound", which mixes soulful elements with rawer edges.

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DJ Tony Humphries started his residency at Club Zanzibar in Newark, New Jersey in 1982 and, along with others, helped "spawn an occasional but always soulful subgenre, the gospels" of house music in what is known as the Jersey Sound. The club scene also spawns the ball culture scene at the Newark hotel and nightclub. "Queen of the House" Crystal Waters and other house characters performed on the Newark scene.

Abigail Adams's recording and music-house recorder, Movin 'Records in neighboring Newark, East Orange, New Jersey, is another contributor to Jersey Sound.

Other regional scenes

Many independent record labels based in Chicago also get their artists on the charts. Detroit DJ Terrence Parker uses his sophisticated turntablism skills and his focus on precision to blend DJ style hip hop music, such as scratching rhythm, at his home mixed. Fellow spinner Detroit DJ Minx is a famous female DJ. Her notes on her Women on Wax label combine the precision of the funky turntablism of Parker.

In the UK, a home song released by a Chicago-based label is routinely perceived as a "must play" at the UK home music club. Paradise Garage in New York City is still a top-tier club in the era of home, just like the disco age. The rise of Todd Terry, the pioneer of the genre, shows the continuum of an underground disco approach that moves to new home sounds. The cover of Terry's "Weekend" Action Class (mixed by Larry Levan) shows how Terry attracted more recent hip-hop influences, such as faster sampling and rougher basslines.

In the late 1980s, Nu Groove Records launched and coached Rheji Burrell & amp; Rhano Burrell, collectively known as Burrell (after a short visit on Virgin America via Timmy Regisford and Frank Mendez). Nu Groove also has another NYC underground DJ scene. The Burrell's created the sound "New York Underground" home, and they performed 30 releases on this label that featured this sound. In 2010, Nu Groove Record releases like the Burrells' enjoyed cult status among "crate diggers" and DJs. Mint vinyl recording conditions by Burrells from the 1980s can obtain high prices.

In the late 1980s, DJs and home production moved to the US west coast, mainly to San Francisco, Oakland, Los Angeles, Fresno, San Diego, and Seattle. Los Angeles witnessed an explosion of underground raves, where the DJ combines dance songs. LA. DJ Marques Wyatt and Billy Long spin to Jewel's Catch One. In 1989, EBN-OZN-based rapper/rapper based in L.A., Robert Ozn began to create the indie house label One Voice Records. Ozn released Mike "Hitman" Wilson remix of Dada Nada's "Haunted House", which gathers clubs and blends radio shows in Chicago, Detroit and New York as well as in the United States and France. The record rose to number five on the Billboard Club Chart, marking it as the first home record by a white artist (Caucasian) to chart in US Dada Tone, the moniker for Ozo's solo action, made its first release in 1990, using a jazz-based Deep House. The Frankie Knuckles and David Morales remixes of Dada Nada's "Deep Love" (One Voice Records in the US, Polydor in the UK), featuring cheerful singing and singing vocals of Ozn and solo songs improvised by silenced horns, underlining Deep House's development into in a genre that integrates jazz and pop song writing and song form (unlike acid house and techno).

In 1989 and into the early 1990s, home music became more popular in the US. The Technotronic Group scored an international hit with the song "Pump Up the Jam."

The pop singer Madonna's 1990 singing song "Vogue" became an international hit as well and topped the US charts. The single is credited as helping to bring home music to the mainstream US. Gospel/R & amp; B-influenced "Time Passes On" in 1993 (Strictly Rhythm), then, "Follow Me" received radio broadcasts and other US Hit club dramas that received radio playback as "Time for the Perculator" single by Cajmere, who became the prototype for the emergence of ghetto subgenre homes. Cajmere starts the label of Cajual and Relief (among others). In the early 1990s, record artists included Cajmere (under the name as well as Green Velvet and as producer for Dajae), DJ Sneak, and Glenn Underground. The 1990s saw newly emerging Chicago house artists, such as DJ Funk, who operated a Chicago record label called Dance Mania. The Ghetto House and the Tamarind House are another home-style music that started in Chicago.

The late 1980s-1990s

In the UK, further experiments in the genre increase its appeal. Homes and rave clubs such as Lakota and Cream appear in England, organizing home and dance events. The concept of 'casual' was developed in the UK with an ambient album like The KLF's Chill Out and Analogue Bubblebath by Aphex Twin. Superclub Godskitchen also began in the midst of the early 90s scene. After initially hosting a small night at Cambridge and Northampton, related events expanded in Milton Keynes, Birmingham and Leeds. New indie dance scene also appeared in the 90s. In New York, bands like Deee-Lite enhance the international influence of the house. Two typical songs from this era are Orb "Little Fluffy Clouds" (with typical vocal samples from Rickie Lee Jones) and Happy Monday '"Wrote for Luck" ("WFL") transformed into a hit dance by Vince Clarke.

In the UK, one of the few licensed places is The Eclipse, which draws people from up and down the country as it is open until the early hours of the morning. Due to the lack of legitimate legal dance venues, house music promoters began organizing illegal events in unused warehouses, airplane hangars and in the countryside. The Criminal Justice and Public Order Act of 1994 is a government effort to ban large rave dance shows featuring music with "repeated knocks", due to allegations of law enforcement that this event is linked to illegal club drugs. There are a number of "Kill the Bill" demonstrations by rave music fans and electronic fans. The Spiral Tribal Dance at Castle Morten is the last of these illegal raves, since the law, which became law, in November 1994, made illegal home music events illegal in Britain. Despite the new law, music continues to grow and change, as characterized by Leftfield with "Release the Pressure", which introduces dub and reggae into home voices. Earlier releases from Leftfield, such as "Not Forgotten" were released in 1990 on the Sheffield Outer Rhythm record using a more distinctive sound.

Newer generation clubs such as Liverpool's Cream and Ministry of Sound were opened to provide a place for more commercial home sounds. Big record companies are beginning to open "superclubs" that promote their own groups and actions. These superclubs entered into a sponsorship deal initially with fast food, soft drinks, and clothing companies. Leaflets at clubs in Ibiza often wear a lot of company logos from sponsors. The new subgenre, Chicago hard house, was developed by DJs such as Bad Boy Bill, DJ Lynnwood, and DJ Irene, Richard "Humpty" Vission, Chicago house mixing elements, funky homes and hard homes. In addition, producers such as George Centeno, Darren Ramirez, and Martin O. Cairo developed the sound of Los Angeles Hard House. Similar to gabber or hardcore techno from the Netherlands, it is associated with "rebels", subculture of underground clubs at the time. These three manufacturers introduced new approaches and sounds of production in the late 20th century to become more prominent and widely used during the first decade of the 21st century.

Toward the end of the 1990s and into the 2000s (decades), French DJs/producers such as Daft Punk, Stardust, Cassius, St. Germain, and DJ Falcon began producing new sounds on the Paris club scene. Together, they laid the groundwork for what would become known as the French home movement. They combine Chicago's harsher yet winding philosophy with an obscure melody of notes. In addition, using the cutting edge digital production techniques blended with the old school analogue retro synthesizer sound, they create new sounds and styles that affect home music around the world.

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21st century

2000s

Chicago Mayor Richard M. Daley proclaimed August 10, 2005 as "House Unity Day" in Chicago, commemorating the 21st anniversary of home music (actually the 21st anniversary of the founding of Trax Records, an independent Chicago-based label ). The proclamation recognizes Chicago as the original home of home music and that the original creators of the music "are inspired by the love of their city, with the dream that one day their music will spread the message of peace and unity worldwide". DJs such as Frankie Knuckles, Marshall Jefferson, Paul Johnson and Mickey Oliver celebrated the proclamation in the Summer Dance Series, an event hosted by the Chicago Department of Cultural Affairs.

It was during this decade that vocal houses became established, both underground and as part of the pop market, and labels such as Defected Records, Roulà ©  © and Om were at the forefront in the fight for the emerging sound. In the mid-2000s, fusion genres such as electro houses and restless homes emerged. This fusion is evident in the musical styles punctuated by artists such as Dennis Ferrer and Booka Shade, with a production style that has evolved from the New York home feeling scene and the last roots in techno. Many live performances dedicated to home music were established during this decade, including the Shambhala Music Festival and industry-sponsored big events such as the Winter Music Conference in Miami. This genre is even gaining popularity through shows like Creamfields. In the late 2000s, the home style witnessed the success of the new chart thanks to actions like Daft Punk, Deadmau5, Fedde Le Grand, David Guetta, and Calvin Harris.

2010s

During 2010 some new voices in home music were developed by DJs, producers and artists. Sweden has a "progressive Swedish home" with the rise of Sebastian Ingrosso, Axwell, and Steve Angello. While the three artists have solo careers, when they form a trio called Swedish House Mafia, it shows that the house can still produce chart-topping hits, like their 2013 single "Do not You Worry Child", which broke the Billboard top 10. Avicii is a Swedish DJ/artist known for his hits like "Hey Brother", "Addicted to You", "The Days", "The Nights", "Levels", "Waiting for Love" and "Without You". Fellow Swedish DJ/artist Alesso collaborated with Calvin Harris, Usher, and David Guetta. In France, Justice combines garage and alternative rock influences into their pop-infused home tracks, creating great and funky sounds. Skrillex, a former alternative rock singer, mixes dubstep and pop into his home music UK.

The Netherlands united the concept of "Dirty Holland", an electron home subgenre characterized by rough lead synth and dark arpeggio, with leading DJs being Chuckie, Hardwell, Luke Laidback, Afrojack, R3hab, Bingo Players, Quintino, Alvaro, Cedric Gervais and 2G. Elsewhere, the genre-derived genre from the 2000's progressive home came back, especially with the help of DJs/artists Calvin Harris, Eric Prydz, Mat Zo, Above & amp; Beyond and Fonzerelli in Europe.

Diplo, a DJ/producer from Tupelo, Mississippi, is able to integrate underground sounds with mainstream style. When he came from South America, Diplo merged with rap and dance/pop music, while also unifying the more vivid US Southern genres. Other North Americans include Canadian Deadmau5 (known for its unusual masks and unique musical styles), Kaskade, Steve Aoki, Porter Robinson, and Wolfgang Gartner. The increasing popularity of such artists led to the emergence of electro houses and progressive home sounds in popular music, such as singles such as David Guetta "feat. Avicii" Sunshine "and Axwell remix of" In The Air "

"Big room house" has grown in popularity since 2010, through international dance festivals such as Tomorrowland, Ultra Music Festival and Electric Daisy Carnival. In addition to examples of these popular homes, there is also a reunification of contemporary homes and roots. Many hip hop and R & amp artists B also turned to home music to add mass appeal and dance floor to the music they produce. The tropical house goes into the top 40 on the UK Singles Chart in 2015 with artists like Kygo and Jonas Blue. In the mid-2010s, home influences began to also be seen in Korean K-pop music, an example of this being f (x) "4 Walls" and SHINee's title song "View."

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Events

Selected Some are annual events in Chicago that celebrate home music in his birthplace. Started in 1990, it is a collection of home music artists and their friends and family. In 2010, this is an annual event with live performances by DJs and artists from around the world.

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See also

• House dance
• List of electronic music genres
• List of home music artists
• Home music style

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Note

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Further reading

• The bidder, Sean (2002). Increase Volume: A History of House Music , MacMillan. ISBNÃ, 0-7522-1986-3
• The bidder, Sean (1999). The Rough Guide to House Music , Rough Guides. ISBNÃ, 1-85828-432-5
• Brewster, Bill, & amp; Frank Broughton 2000 Last Night DJ Save My Life: The History of Jockey Disk , Grove Press. ISBNÃ, 0-8021-3688-5 and in the UK: 1999/2006, Title.
• Kai Fikentscher 2000 "'You Better Work!' Music Underground Dance in New York City ". Middletown, Connecticut: Wesleyan University Press. ISBNÃ, 0-8195-6404-4
• Hewitt, Michael. Music Theory for Computer Musicians . Ed 1. U.S. Cengage Learning, 2008. ISBNÃ, 978-1-59863-503-4
• Kempster, Chris (Ed) (1996). Home History , Castle Communications. ISBNÃ, 1-86074-134-7 (Reprinted magazine articles from the 1980s and 90s)
• Mireille, Silcott (1999). Rave America: Dancescapes New School , Press ECW. ISBNÃ, 1-55022-383-6
• Reynolds, Simon (1998). Energy Flash: Journey Through Rave Music and Dance Culture , (English Title, Pan Macmillan ISBNÃ, 0-330-35056-0), also released in the US as Generation Ecstasy: Into the World of Culture Techno and Rave (US Title, Routledge, 1999, ISBNÃ, 0-415-92373-5)
• Rizza Corrado, Trani Marco, "I love nightlife" 'Candle Production (Rome), 2010
• Shapiro, P., (2000), Modulation: History of Electronic Music: Sounding Words to Sound , ISBNÃ, 1-891024-06-X.
• Snoman, Rick (2009). The Dance Music Manual: Tools, Toys, and Techniques - Second Edition : Chapter 11: Houses. Oxford, UK: Elsevier Press. p.Ã, 231-249.
• Rietveld, Hillegonda C. (1998). This is our Home: House Music, Cultural Spaces and Technologies , Ashgate. ISBNÃ, 1-85742-242-2

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External links

• House music in Curlie (based on DMOZ)
• The History of House (2004) HouseKeeping: Funky House DJs from the UK
• Quote taken From the book, What House Party Is This?
• History of House History of House music and old MP3 DJ mixed up.

Source of the article : Wikipedia