IDM – Intelligent Dance Music
IDM – Intelligent Dance Music Experimental direction in electronic music. Its founder is the English musician Richard D. James, known as Aphex Twin. He easily turned his back on industrial synthesizers, and with the help of electronic devices of his own manufacture was able to get a new sound in electronic music. Its sound of ragged percussion, modulated noises, high-frequency whistles and overloaded sounds inspired a large number of followers. And this music became at the same time very noticeable and invisible to the masses, while it manages to balance on the verge of pop music and avant-garde. Every year, convening more and more listeners under their banners, those for whom dance music is not quite close, and for whom academic electronics is far from.
We can assume that the style originated in the 89th year. The term Intelligent Dance Music was coined in the depths of computer networks around the year 93 after the English label Warp Records released the compilation “Artificial Intelligence” featuring The Dice Man (Aphex Twin), Autechre, Speedy J, etc. This was followed by a compilation of “Artificial Intelligence II”, with the participation of B12, Link, Beaumont Hannant, Speedy J, Polygon Window, Seefeel, Autechre. The music of these musicians did not fit into the framework of any one existing style. She was called and New Electronica, and Intelligent Techno, and Experimental Electro. In computer networks, this obscure experimental techno music quickly dubbed Intelligence Dance Music. With the word intelligent, hinting that not everyone was given this music to understand, with the word dance, hinting at its hidden humor (try to dance to it), and the only thing that could be said with complete seriousness is that it is really music. Music with its own special melody, sometimes very childish and simple, and sometimes quite childish and bewitching.
The musicians themselves who create this music often disagree with this definition. Indeed, it’s pretty loud to say that your music is intelligent, and most of the rest is not. As a result, these disputes only give rise to new names for the style, and the abbreviation IDM remains in the circulation of those who have long loved this music. But the point is not in the label, it is in the music. And something new still appears in it, because experiment is driving its development. The experimentality of this music can be manifested literally in everything: in melodies, in rhythms, in sounds, in schemes for constructing compositions. At one time, the definition of this style included people from Cosmic Baby to Cabaret Voltaire, from Banco De Gaia to Goldie, from Portishead to Underworld. But it was a long time ago, since then the music has stepped significantly forward, many other stylistic labels with clear frames have appeared. Bought this framework and IDM shortcut. Currently, there are several main areas of music within the framework of IDM. About them will be discussed below.
Lightweight forms of IDM. In the compositions of this direction, beautiful electronic melodies are always present, often even very simple ones. There can be many melodies, they can succeed each other, merge in the most unexpected way, suddenly arise and shut up. They can have an ambient load like Autechre, or maybe dance like Orbital. The next element of such music is the rhythm built on beatings and breaks. Percussion sounds can be pretty standard like Orbital, and maybe not at all standard like Aphex Twin. Perhaps the use of not very overloaded and dirty percussion sounds, crunches, etc.
Severe forms of IDM. The main distinguishing feature of this direction is heavy overloaded and torn percussion sounds in rhythms. Rhythms, again, are based on breaks and beats, but it happens that an overloaded direct bit of 120-140 bpm is used. In particular, Aphex Twin has early straight-beat heavy tracks that are considered classics of English hardcore. The rhythm in such music always prevails over the melody, unless of course the melody is present at all. It is such an IDM direction that is closest to industrial noise musical forms.
The main difference between these noise structures in sound. Here you can not hear the brutal roar and stuchalovo inherent in industrial work. In IDM, everything is done with mathematical precision. Every sound, every break is thought out, and the knock of pieces of iron, the roar of chainsaws and concrete mixers are synthesized by computers. And also musicians sometimes just compete in the use of fuzzy, overdrive and distortion, for the sake of sports interest and their own dismal mood. In general, no ideology.
Classic forms of IDM. In this direction, the melodic sides of light forms and the rhythmic sides of heavy forms are used. The classic track in this direction is the “On” track from Aphex Twin. War of heavy overloaded rhythms and beautiful electronic melodies. It is never clear which of them will win this time, but it is always clear that the melody will remain in our hearts forever.