The Underground’s Expansion: Exploring the Rise of Electronic Dance Music in America – A Review

The Rise of Dance Music and the Controversial Term “EDM”

Three decades have passed since dance music emerged primarily from predominantly black and gay club scenes. Over the years, it has expanded to attain commercial supremacy among white, middle-American audiences that once dismissed it. Yet, in securing this dominance, the term “EDM” (electronic dance music) has become a contentious label. For many enthusiasts and critics alike, its mere mention evokes visceral discomfort, often serving as a reflection of class and cultural divides within the genre.

Deconstructing the Term “EDM”

Critics argue that “EDM” is not just a simplistic abbreviation; it’s a term that fails to encapsulate the rich history and diversity of dance music. Michaelangelo Matos, in his insightful book, The Underground Is Massive, critiques the term fervently, drawing parallels to three overzealous fathers in a clumsy race—EDM feels outdated and woefully inadequate. For those who grew up immersed in house and techno, the label feels disrespectful; it oversimplifies a culture that’s taken decades to nurture. Within this discourse, it’s not difficult to see the elitism that creeps in, fueled by a longing for authenticity and a resistance to mainstream appropriation.

Dance Music’s Dialectical Nature

Matos highlights one of dance music’s paradoxes: while it is intrinsically populist, many of its most passionate fans come from niche backgrounds. He navigates this duality deftly, reaffirming his commitment to the music’s roots even as he engages a broader audience. By focusing on what some might dismiss as “the obvious shit,” Matos seeks to introduce newcomers to the genre, arguing that much of this “obvious” music remains largely unknown to many in the country.

Writing About Music: A Unique Challenge

Writing about any art form is fraught with challenges, and music is no exception. Matos proves adept at bridging the gap between written word and auditory experience. For instance, his description of “Acid Tracks” by Phuture captures the essence of the tune, likening it to “twelve minutes of a machine eating its own wires.” Through evocative language, he translates the visceral, beat-driven narratives of dance music into writing, eliciting both nostalgia and intrigue.

The Interplay of Technology and Dance Music

Central to Matos’s thesis is the concept that the medium profoundly influences the message. He draws crucial connections between the rise of the rave scene in the U.S. and the burgeoning internet culture, both marked by utopian ideals and a certain snobbery among insiders. Techno, in particular, is characterized as music for early adopters, aligned with the digital revolution.

The Accessibility of the Underground

Matos’s exploration underscores a critical evolution in how music is consumed today. By referencing a staggering 300 tracks throughout The Underground Is Massive, he caters to an audience accustomed to the ease of instant access to music. The underground soundscapes that once required a physical journey to a club or record store can now be navigated from the comfort of one’s living room. This accessibility has democratized the genre, yet it raises questions about the very nature of underground music itself.

An Ensemble Drama

In the early chapters of his book, Matos presents a compelling narrative that focuses less on individual stars like Frankie Knuckles or Derrick May and more on the collective nature of the music scene. The revolution is framed as an ensemble drama, where the music takes the lead. However, as he shifts focus to individual contributions, the narrative can feel burdened by names, sometimes overwhelming the reader who might struggle to discern significance amidst the flood of information.

The Edge of Society

Matos finds his rhythm when detailing the underground scenes of cities like Chicago and Detroit in the ‘80s or Los Angeles in the ‘90s. He evokes a sense of excitement with tales of burgeoning mixtape cultures and DIY record labels. These early days, marked by a jerry-rigged spirit, illustrate a vibrant counterculture embedded in the music, predating internet-driven ease. The narrative thrives when it channels the chaotic yet passionate environment of these underground movements.

The Caustic Critique of Mainstream Success

As Matos progresses through his narrative, there’s a noticeable shift in tone. His mild critiques of contemporary artists—most notably the likes of Avicii, Skrillex, and Deadmau5—hint at a deeper sentiment. The idea that commercial success is often inversely proportional to artistic merit is echoed throughout the book. His reluctance to fully engage with the new generation of superstar DJs speaks volumes about his underground sympathies, revealing his yearning for the authenticity that pervaded earlier scenes.

Hidden Gems Await

Despite the lopsided nature of the current landscape dominated by mainstream figures, Matos asserts that countless hidden gems continue to thrive within the underground. His work serves as a guiding light, empowering readers to embark on their own explorative journeys through the genre. By illuminating both the revered classics and the overlooked treasures, The Underground Is Massive not only captures dance music’s past but also sparks curiosity about its future. Readers who delve into Matos’s account will leave with a newfound appreciation and a toolkit for discovering the multifaceted world lurking just beneath the surface of commercial dance music.