This was played at every festival, in every trap and bass set around the word. Most moments in EDM are ephemeral, but we'll be listening to "Pusher" for years. Legend has it that no one's ever lived to tell the tale sober. Anyone who's adopted a cat to cope with the Trumpocalypse will surely identify with the idea of finding love in a hopeless place. Boys Noize is famous for his analog leanings.
There's also the fact that the producer doesn't project a human image—bucket head aside, Marshmello wears all white and communicates to the world not in interviews, but through Instagram captions. It's just stupid hype. Like it or not, there's a place for all of us somewhere out there under the big tent. Listening back today, it reads like a Calvin-peeing windshield decal in the face of genre purism, and seems to predict today's post-genre pop music landscape.
With the latter's touch, the already bass-heavy track becomes a chaotic frenzy of chopped vocals and jagged synths, the musical equivalent of adding a shot of espresso to a Red Bull. Across the smoking battlefields of YouTube comment sections, prestige music outlets , and molly-fueled arguments in festival bathroom lines, a generation has relentlessly chewed over exactly which electronic dance music can be classified as Electronic Dance Music, and whether the term is a slur or a compliment.
Porter Robinson injects a little soul into the high-definition gloss, courtesy of a heavily manipulated vocal melody with a bittersweet edge. There's a reason this song is in pretty much every single Apple Music "Trap" playlist , and that's the Diplo feature.
The Norwegian producer's 2012 single "Mirror Maru" is one of his most successfully pillowy works from that era. It's just a really, really, really good song that offers exactly what it promises—an illicit dose of kick drum punishment.
Electronic music with indie cred at the end of the 00s was typically brash and loud think Major Lazer and Justice or subtle and downcast Matthew Dear, Burial, Four Tet. Moombahton was robbed. It's 6 minutes and 13 seconds of unfettered audience joy, and if it doesn't put a smile on your dumb face, then I can't help you.
The fleet-fingered California producer draws through lines between footwork, hardstyle, and trap, with the unpretentious approach of someone who grew up on the web, and has every sound within reach.
Drifting piano parts float around Fourth World synth percussion, resulting in what Enigma might throw together after a big huff of helium. Saint and UNIIQU3's transformation of a vocal take into a chattery percussive part and M-80-like kick-drums make this one feel like it could level a stadium. And guess what?
It's club music as LRAD. It's nearly impossible to pin down Rihanna's most iconic tune. La Roux's 2009 breakout single "In For The Kill" received remixes from both Kanye West and dubstep originator Skream , but for sheer oomphs -per-minute, it's hard to beat Skrillex's jackknifed rework. Here he teams with German techno weirdo Boys Noize, and all rules fly out the window.
It could have been career suicide; two of the most in-demand electronic musicians respected by kids who claim to live an alternative lifestyle teaming up with the biggest and most derided pop star of the day.