The cerebral dance era, cultivated or confined?
As the battle of EDM descends into the urbanised trenches of civilisation, the music scene is once again split between decadence and composure. With a self-confessed hostility against the screeching sounds of synthesised hydraulics, repulsion against the rattle of an under-privileged bass canon, and all out contempt for genre slayers Skrillex, Netsky, David-art-gutting-Guetta et al, I opt in for the domesticated serenity of deep house, the ambience of poised garage and mechanised blip of trippy techno.
Credit to the wilderness beyond the walls of drum and bass, through the anarchy of big beat and exhilaration of dubstep, but the Mayan apocalypse’s no show is a rap, and a year later it’s high time to be spellbound in serenity.
All due respect if you’re into the gabba gabba hey of hardstyle or losing your mind to the transcendence of psytrance, but there are incredible reformations going on within the world of downtempo dance, and ambience isn’t just for people in weird rooms staring at walls they believe to have been imported from the Hacienda.
Autonomy comes in many forms, from the acceptance of the warehouse rave to the temporary anarchic area designated to festival revellers; those who can’t kick back can’t unwind and those who can’t unwind get wound up. So we’re not going mad at raves anymore, fist pumping the air and braking down into a flurry of limbs on the dancefloor, instead we are relaxed yet restrained, self-possessed and euphoric, twisted yet tranquil.
We may be spellbound by the beat, mesmerised by melody and harmoniously caught in a surge of bopping and bowling but I’d argue that the more cerebral side of bass music is captivated, and cultivated rather than imprisoned and confined. Do we need to remember how to lose our inhabitations again, or is it for Larry the lout and Barry the Brit abroad?
Written By Zachols