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With each passing year, the task of assembling a year-end list that is both representative of the global breadth of club music, yet also speaks to the cutting edge of the respective threads, gets harder and harder. At this juncture, a number of record labels have surfaced to catch wind of the best and brightest from this global milieu, yet much of the cultural resonance of dancefloor music evades both classification and the strictures of a traditional release catalog. It tends to be strewn across streaming platforms, struck down by copyright notices, and produced in both a deliberately and accidentally opaque manner. We are lucky that some of this vast jumble of club music lands on Bandcamp, although it could hardly be representative of the font of talent, hits, and novel stylistic gestures that arose this past year.

This said, 2023 was another massive year for the music I, and others, uneasily aggregate as club music. Cairo and Chicago, Rio De Janeiro and South London, New York and Lisbon; these connections really do exist through both the internet and a touring network, albeit one that still geographically limits artists from the Global South. Projects from 3phaz, DJ JM, and fiyahdred effortlessly mediate between dance sounds both niche and universal, casting their respective traditions into the flames. Over on the East Coast, expansive efforts from Byrell The Great, SlickGoHam, and Uninamise point to the vibrancy of ballroom, Bmore club, and flex dance music by fine-tuning them for a multitude of contexts beyond the traditional club.

Club Bgm Music Download

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We all know that the ME franchise has an amazing orchestral soundtrack, but the electronic dance music in the clubs and cabins is pretty amazing too (if you like electronic music in the first place I guess ;)

The granddaddy of all local music venues, The Continental Club has enjoyed a coast-to-coast reputation as the premiere club for live music in Austin, Texas since 1955 and in Houston since 2000.

Electronic dance music (EDM)[1] is a broad range of percussive electronic music genres originally made for nightclubs, raves, and festivals. It is generally produced for playback by DJs who create seamless selections of tracks, called a DJ mix, by segueing from one recording to another.[2] EDM producers also perform their music live in a concert or festival setting in what is sometimes called a live PA. Since its inception EDM has expanded to include a wide range of subgenres.

In the late 1980s and early 1990s, following the emergence of raving, pirate radio, PartyCrews, underground festivals and an upsurge of interest in club culture, EDM achieved mainstream popularity in Europe. However, rave culture was not as broadly popular in the United States; it was not typically seen outside of the regional scenes in New York City, Florida, the Midwest, and California. Although both electro and Chicago house music were influential both in Europe and the United States, mainstream media outlets and the record industry remained openly hostile to it. There was also a perceived association between EDM and drug culture, which led governments at state and city levels to enact laws and policies intended to halt the spread of rave culture.[3]

Subsequently, in the new millennium, the popularity of EDM increased globally, particularly in the United States and Australia. By the early 2010s, the term "electronic dance music" and the initialism "EDM" was being pushed by the American music industry and music press in an effort to rebrand American rave culture.[3] Despite the industry's attempt to create a specific EDM brand, the acronym remains in use as an umbrella term for multiple genres, including dance-pop, house, techno, electro and trance, as well as their respective subgenres.[4][5][6]

In the late 1960s bands such as Silver Apples created electronic music intended for dancing.[7] Other early examples of music that influenced later electronic dance music include Jamaican dub music during the late 1960s to 1970s,[6] the synthesizer-based disco music of Italian producer Giorgio Moroder in the late 1970s, and the electropop of Kraftwerk and Yellow Magic Orchestra in the mid-to-late 1970s.[5]

Author Michael Veal considers dub music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music.[8] Dub productions were remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, and reverberant textures.[9] The music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee "Scratch" Perry, and Scientist.[8] Their productions included forms of tape editing and sound processing that Veal considers comparable to techniques used in musique concrte. Dub producers made improvised deconstructions of existing multi-track reggae mixes by using the studio mixing board as a performance instrument. They also foregrounded spatial effects such as reverb and delay by using auxiliary send routings creatively.[8] The Roland Space Echo, manufactured by Roland Corporation, was widely used by dub producers in the 1970s to produce echo and delay effects.[10]

Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge.[11] Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo, equalization and psychedelic electronic effects. It featured layering techniques and incorporated elements of world music, deep bass lines and harmonic sounds.[12] Techniques such as a long echo delay were also used.[13]

Hip hop music has had some influence in the development of electronic dance music since the 1970s.[14] Inspired by Jamaican sound system culture Jamaican-American DJ Kool Herc introduced large bass heavy speaker rigs to the Bronx.[15] His parties are credited with having kick-started the New York City hip-hop movement in 1973.[15] A technique developed by DJ Kool Herc that became popular in hip hop culture was playing two copies of the same record on two turntables, in alternation, and at the point where a track featured a break. This technique was further used to manually loop a purely percussive break, leading to what was later called a break beat.[16]

Turntablism has origins in the invention of the direct-drive turntable,[17] by Shuichi Obata, an engineer at Matsushita (now Panasonic).[18] In 1969, Matsushita released it as the SP-10,[19] the first direct-drive turntable on the market,[20] and the first in their influential Technics series of turntables.[19] The most influential turntable was the Technics SL-1200,[21] which was developed in 1971 by a team led by Shuichi Obata at Matsushita, which then released it onto the market in 1972.[17] In the 1980s and 1990s hip-hop DJs used turntables as musical instruments in their own right and virtuosic use developed into a creative practice called turntablism.[21]

Acts like Donna Summer, Chic, Earth, Wind, and Fire, Heatwave, and the Village People helped define the late 1970s disco sound. Giorgio Moroder and Pete Bellotte produced "I Feel Love" for Donna Summer in 1977. It became the first well-known disco hit to have a completely synthesized backing track. Other disco producers, most famously American producer Tom Moulton, grabbed ideas and techniques from dub music (which came with the increased Jamaican migration to New York City in the 1970s) to provide alternatives to the four-on-the-floor style that dominated.[31][32] During the early 1980s, the popularity of disco music sharply declined in the United States, abandoned by major US record labels and producers. Euro disco continued evolving within the broad mainstream pop music scene.[33]

Synth-pop (short for synthesizer pop;[34] also called techno-pop[35][36]) is a music genre that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument.[37] It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the Krautrock of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s.

Early synth-pop pioneers included Japanese group Yellow Magic Orchestra, and British bands Ultravox, the Human League and Berlin Blondes[citation needed]. The Human League used monophonic synthesizers to produce music with a simple and austere sound. After the breakthrough of Gary Numan in the UK Singles Chart in 1979, large numbers of artists began to enjoy success with a synthesizer-based sound in the early 1980s, including late-1970s debutants like Japan and Orchestral Manoeuvres in the Dark, and newcomers such as Depeche Mode and Eurythmics. In Japan, Yellow Magic Orchestra's success opened the way for synth-pop bands such as P-Model, Plastics, and Hikashu. The development of inexpensive polyphonic synthesizers, the definition of MIDI and the use of dance beats, led to a more commercial and accessible sound for synth-pop. This, its adoption by the style-conscious acts from the New Romantic movement, together with the rise of MTV, led to success for large numbers of British synth-pop acts (including Duran Duran and Spandau Ballet) in the United States.

The use of digital sampling and looping in popular music was pioneered by Japanese electronic music band Yellow Magic Orchestra (YMO).[38][39][40][41] Their approach to sampling was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology.[40] "Computer Game/Firecracker" (1978) interpolated a Martin Denny melody,[42] and sampled Space Invaders[43] video game sounds.[42] Technodelic (1981) introduced the use of digital sampling in popular music, as the first album consisting of mostly samples and loops.[39][41] The album was produced using Toshiba-EMI's LMD-649 digital PCM sampler, which engineer Kenji Murata custom-built for YMO.[41][better source needed] The LMD-649 was also used for sampling by other Japanese synthpop artists in the early 1980s, including YMO-associated acts such as Chiemi Manabe[44] and Logic System.[45] 2351a5e196