The Electro Wars Final Trailer from Stephen Alex Vasquez on Vimeo.

The Electro Wars Final Trailer from Stephen Alex Vasquez on Vimeo.

Can a documentary finally tell the story of the electronic music scene? Primus Luta has become a scholar of electronic sounds himself, and joins us in a guest post to examine a film that, like the music itself, is a work in progress. Electro Wars premieres in its current form in New York Friday, but you can get a first glimpse at the movie and the state of music in the Internet – whether wishful thinking might imagine the Web’s age is over or not. -Ed.

Electronic music has always had a love hate relationship with popularity.  Back in the old days of the ‘big five’  setting the music trends for the masses with million dollar marketing budgets, it was an unwritten rule that there could only be one popular electronic act per five years, and they could only be publicly referred to as dance artists.  Those days are of course long over.  The big five aren’t five any more, and by comparison don’t seem that big either.  As for setting trends, they are still a factor, but hardly the necessity they once were.  When you look at the Billboard charts you still see their artists, but now they share space with a wide assortment of niche artists who achieved just as much on shoestring budgets.

The internet has had no small role to play in this.  With album sales down across the board and music industry ‘sales events’ being fewer and further between, popularity has become more about buzz than sales.  Today that buzz is measured in realtime with all of the fancy social networking analytic algorithms, but a mere three years ago blogs were all the rage.  During that time a meme started by internet celebrity Carles of The Hipster Runoff started a buzz that provided inspiration for the latest documentary film on electronic music and its flirtations with popularity.

“[Carles] kept bringing up these different indie bands and these electro bands,” says Stephen Vasquez, the filmmaker behind The Electro Wars as we sit in a Queens Dunkin Donuts, a few blocks from where he was born. “He’s talking about how they are fighting this war to stay relevant.  That’s when I got the idea.  There is a transitional period going on, right now.”  The transition he speaks of is the one which made it viable for small artists with no major label support to break out of their niche.  Through the internet smaller scenes had the means of vying for media attention.  Among those given voice was the tongue in cheek electronic sub-genre which attracted Vasquez – bloghouse.  The niche sound of electro styled house made its way from bedrooms to local clubs, but came alive as the sound traveled via the internet.

“I go to these clubs,” Vasquez says.  “Nobody is really taking this music seriously.”  It’s been the fate for club music since the end of disco, the club aspect overshadowing the music.  Even with, bloghouse, its embrace of the internet never denied its place in the club where it is generally understood that the music helps set the scene, not necessarily that the scene is the music.  Still, the music is often the introductory point for many club goers to search for deeper musical appreciation, as was the case with Vasquez.

“I always listened to house music but I never understood that house, techno, drum and bass, grime, all these things are different sub-genres of electronic music.  They are not all the same thing.  It was ignorance on my part that I wanted to clarify for myself, so I started researching.  Jeff Mills, Juan Atkins, Bambatta, Kraftwerk and I’m like ‘damn, this thing’s been going on for years.'”

Yet what has happened with it over the past few years has transformed the scope of the music.  The internet has allowed it to break out of the club, or alternately sprout up new club scenes where there were none previously.  “It’s really going all over the world,” Vasquez explains.   “It’s not just in Europe anymore.  It’s affecting small countries.   Kids around here are listening to that music now,” he says of his immigrant Queens community, “which was unheard of ten years ago.  You had the hip-hop heads, the sneaker heads, then the kids listening to spanish music. Now even the off the boat kids are like, ‘yeah man I’m going to see Tiesto!'”

All of these things led Vasquez to take on the task of documenting what he was seeing.  “I’m a filmmaker first and foremost.  I DJ as a hobby but film is my passion.  I was just going to do the documentary for myself. If it went somewhere fine, but at least I’d have it as the memories of the scene and what it was, because this scene may not be here in five years.

“The first pinnacle moment for the whole thing was when Steve Aoki agreed to do the interview.  Once he did, that launched a series of other interviews.  At the same time though, I was reaching out to even bigger people.  Gaga and Kanye.”  Gaga was well on her way to the top of the pops, but at the time was  still  just an up and coming artists.    For Vasquez, her rise to stardom and Kanye giving up rapping for autotune over sonic textures pulled from the scene he was most familiar with, was an indication of the heights that sound could achieve.  “Of course they denied the interviews.  At least Kanye responded to me though.  He said, I’m really busy and don’t have time right now.  But it’s a dope concept and I want to see it when you finish.'”

It is still a work in progress and a lot has changed since he first began work over two years ago.  “Bloghouse came in really quickly then all of a sudden started dying off just as quickly.  A lot of the artists now are breaking into the mainstream.”  It’s the trend that took Gaga to the top of the pop charts, while earning  her Grammy’s in Electronic/Dance categories.  It’s also the trend that took Vasquez to Costa Rica to screen the film for the growing scene down there.  “The kids over there (Costa Rica) they mimic our scene, the LA scene.   I find it interesting because it’s that international.”

He credits the LA club scene with a lot.  “LA was pivotal,” he explains.  “It kind of started the whole thing.  I say ‘kind of’ because it’s not fair to say it started it.  It came from different parts of the world.  If Justice never came or the canadians with MSTRKRFT, Boys Noize in Germany, if they never came there would have been no scene.  It kind of revived the whole rave culture.  Cobra Snake started the whole photographer frenzy.  Glamorizing it, making you feel like you are the most important person at the party.  It’s always been around but it took off for this scene in LA.”

Despite the modern focus of the film, Vasquez is well aware of the notion that there is nothing new under the sun.  “I would go as far back as the seventies,” he says.  “Seventies disco, that whole scene is where I feel it’s going now.  Especially with A-Trak, Armand van Helden, they are doing the new wave disco style.  That sound is big right now because it has a very friendly atmosphere.  People go to a small club, again its a small scene.  They go and they chill and they have a good time.  It’s not about going and looking at a DJ with visuals because a lot of the artists can’t afford all of that.  It’s about listening and dancing to the music.”  Despite the global impact, the relative smallness of the local scenes themselves play into maintaining the feel good aesthetic.  “In the seventies you had parties in a loft.  You’re seeing that these days.  Especially in Brooklyn.  It’s like I’m living in an era I wished that I had lived in.”

Bridging the history of the new scenes with the broader history of electronic dance music is a motivator for Vasquez.  It isn’t the focal point of the film, but he makes a concerted effort to acknowledge the past.  “I want to educate people that were in my position a few years back.  A lot of the kids that listen to the music, they have no idea where it came from.  If I can present that history in a nice little timeline and keep it quick for the MTV generation, my generation and the new kids who have even a shorter attention span.  Keep it real quick, and hopefully they’ll take something with them.”  Presented in between interviews from artists ranging from Moby, Aoki and DJ Premier, Vasquez leaves all the context clues needed to broaden perspectives.

As for the electro war itself, perhaps a truce has been reached.  “Now the indie bands are getting remixed and getting exposed to this sub culture.  Indie and electro really compliment each other but I can see it working for a lot of hip-hop too. Drake and Kudi.  Spank Rock is like the hipster Nas.

“The scene  keeps changing so quickly.  I heard Tiesto made a song with Diplo and David Guetta is working with LMFAO and Fergie on a track.  Now Aoki and all the guys of the electro house scene, are working with big house dj’s like Tiesto and Apple Jack.”  And then there is dubstep.  “I just got off the phone with Rusko.  He was excited to be in the movie.  I hung up and I’m like how am I going to take this documentary on electro house music into dubstep?  But it needs to be mentioned.”

Indeed Vasquez is still shooting and editing.  Since beginning work on the film, buzz has spread about it and support for it keeps coming in.  While he won’t provide any details, there’s a confidence in his smile that the future for The Electro Wars is bright.

As a way to bring it all back home, Vasquez will be screening the film in its current state with the community that raised him.  On Friday July 9th there will be a special screening at the Jackson Triplex in Queens, NY, 7pm, with music, dance and a one-off opportunity to see The Electro Wars before its next incarnation.

  • toupeira

    Every now and then I stumble upon an interesting music documentary due to be completed "soon", only to lose track of it completely by the time it's released.

    Does anybody know a good blog about music documentary releases?

  • Eric

    Am I right in noticing that this film is only about the scene in the States? Because it seems like a huge part of what I think is really relevant electronic music is missing in this concept. If it's only about the States then I can understand why, but if he wants to shed light on electronic music in general (as I would think if you bring up the internet as an important factor) he really needs to broaden the scope of people and places.

  • newmiracle

    Yeesh, seems really dated. Hopefully it's heavy on retrospective analysis rather than hyping acts that are 3 years old.

    That being said, it would be good to see a in depth documentary about one of the shortest and intense musical fads in history.

  • neu

    it looks like america hipsterville to me than actual a world wide electro doc.oh well

  • Richard D

    3 Years old? More like 5 or 7 years old…

    This looks well done, but my money is on this being pretty bad and misinformed.

    The "underground" artists they have are beyond cheesy, and the mainstream artists…wow, awful

    I wouldn't be caught dead listening to 95% of these artists.

    It's really a shame that it looks like some important people who built the electrohouse/blog house/fidget sound 4 years ago were left out.

  • experimentaldog

    I'm interested to see where this goes, but yeah it sounds like it's pretty limited in scope. "Electro House" or "Blog House" is just one sub-genre of many on a branch of the electronic and global musics web. It looks to me as if this documentary is trying to find meaning as to why this scene exists, but I fear it may lack a strong argument. I've seen a few other docs on house, d&b, industrial, krautrock etc.. but most of them were limited in scope and were more about name dropping and self appreciation rather than incorporating significant anthropological or historical information. I agree with @Eric that it will hopefully have broader scope of coverage.

  • michael

    "Now Aoki and all the guys of the electro house scene, are working with big house dj’s like Tiesto…"

    Kinda says it all when you don't know what music Tiesto plays.

  • i am disappoint

    Someone took Hipster Runoff seriously and decided to make a documentary about one of his old blogs, seriously?

    The dude is criticizing the current state of niche cultures.
    Plus, he's not even funny anymore.

  • I'm not into this scene here in LA but i have a feeling the "war" is just how DJ's, Promoters, and artists have taken this genre and changed it to gather the most market share. for example, in LA there is a huge 18+ party called the Heist. Seems like all the DJ's are clones of each other and they all play the same electro house tunes. same promoter couldn't use the formula for a 21+ spot however. i think two things are going on: #1 the niches go commercial and saturate the market and #2 the audience grows up and seeks new parties. Just my observation. I notice that some of the "pioneers" of DJing are shown in the trailer and I think they are legit to express how electro has evolved. it was born from the jacking of Kraftwerk tunes and made it's way into electronic dance music scenes in the late 70's early 80's here in the states. I do feel that limiting the subject matter to US does do a disservice.

  • Paul

    None of that shit sounds remotely like Electro to me.

  • James

    i hate americans

  • Tom

    Yet another film that runs: "70's Kraftwerk … then the bands I like". Anyone remember a film called Modulations that did the same thing except it cut from 70's Kraftwerk to whoever was hip in the late 90's.

    Ten years from now it'll cut from 70's Kraftwerk to whoever is big in Mumbai that year 🙂

  • Franz

    US centric … boring … wow people start to produce in their bedroom … europeans? – forget about them

  • R

    This could be interesting. The UK's been a crucible for these genres, but now, there's no scene here any more. It feels dead. People used to always come up and request electro house when you're djing. Now not so lucky. It's back to people requesting R&B.

  • Orubasarot

    Well, looks like I can finally retire from hating on shit. Thanks fellas, it's been a long road and I deserve a vacation.

  • Will

    Electro house sounds like plastic tastes

  • "a slower tempoed song doesn't really have a place that mach at a party".

    go visit bristol city.

  • it's not even US centric, its LA centric.

    the west coast is bleh.

    oh, and f*ck kanye.

  • TweakingKnobs

    Everyone can do a blog and everyone can make music today.

    that is fucking awesome.

    the democratization of the tools(internet,software etc…) is the best thing in many many years.

    that scene in l.a. is so inside the box,they talk about money, what does music really has to do with money?

    fuck the music industry.

    we should all be able to do, create,share, and enjoy music and any kind of art or technology for the best of all.

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  • @Tom: Yeah, I remember "Modulations"… and it really sucked! Just focused on glowsticks and drugs.

    With all due respect to Americans (or L.A. hipsters, if I'm not wrong) , it sounds pretty strange to us in Europe to hear about "the new electro" scene… NEW?!?… in fact, why do you even call electrohouse "electro"? Electro is Bambatta and 808's, Cybotron and early 80's beats (at least for us in Spain) (I know labels change from place to place, so don't bash at me).

    Better watch BBC's Pump Up The Volume if you want to go from the early disco days to house culture.

    Your country gave us Grandmaster Flash, gave us Underground Resistance, gave us The Glitch Mob… No ofense to anybody, but not every dancefloor in the world is based on Beyonce, Kanye and cheese r'n'b. Here in Spain, David Guetta and Tiësto are big mainstream names, but… who the hell is Lil John?

    I respect the filmmaker's effort, but he seems like just following trends… "Blog House", really?.

  • Floor

    wow, there is a lot of negativity on this post. it's really easy to criticize.. why not just wait and watch the whole thing? so what, someone made a documentary about a genre in a scene in a country in a city…

    i'm happy to see any movies made about "electronic music" (yes, that means a lot of different things to many people – but if someone made a movie about "modern art," that person is also entitled to choose the sub-genre of his/her choice, AND they can investigate it in any country they want – because it's THEIR movie!)

    if you don't like it, don't watch it. if you feel you can do better, then do it. but for heaven's sake, then DO something, instead of just pissing on someone else's parade.

    and for all the documentary makers out there, i salute you in your effort, and hope that you will continue making movies about electronic music.

  • cr33p

    "Nobody is really taking this music seriously"

    I used to enjoy the fact that no one I knew listened to the same shit as me

  • Okay, obviously the trailer isn't really doing it for people. But I also have to say, for all that I've become pretty skeptical about whether we'll get *any* good documentary on this topic, you might watch more than the trailer before jumping to conclusions. 😉 David will definitely be there tomorrow night to watch it, I'm hoping to make it, and hopefully we can give it a critical eye. I think it's worth being critical, absolutely.

    But seriously, cut the anti-American crap. Give me a break. The scene is global; that's what's terrific about it. @Jorge: come on, you know better than that. It's not even about the US versus Europe. How much of the Berlin scene, for instance, has long been American (and South American) artists whose work was championed by European artists. I think it's this sort of cross-cultural production that's so valuable. And it often took individuals in places like Berlin to appreciate what was happening, to bring people over. (It takes two to tango?) Now, maybe this documentary isn't doing a good job of telling that story, but … you don't have to trash our continent.

    I'm excited about contributions from all over the world (Asia? Africa? Australia?). Whether this documentary screws it up or not, the idea that Europe is somehow not central in the discussion of electronic music has to be the stupidest thing I've ever heard. That's like saying, "jeez, can you finally give Europe some credit for football already?"

  • Then again, we could just spread it around by arbitrarily choosing places to resent. Here, I'll demonstrate:

    "Norwegians are destroying music."

    "Freakin' New Zealand. What IS your problem?"

  • Well, Peter, I understand their frustration. For example, a recent BBC documentary about Krautrock didn't feature a single US artist, which I thought was just absurd. Neither did another BBC documentary on the 1980s electronic music scene in Sheffield. Not a single mention of Information Society. (Nor did either of these documentaries mention Tiesto, which is just incredibly silly and shows an obvious anti-European bias.)

    It is ridiculous for a documentary about a music scene in a specific place and time not to exhaustively cover that music no matter where or when it was made. And to not feature lots of serious dudes in Warsaw fucking around with Speak and Spells and 808s.

    I am ashamed of you for posting this. Bad Peter. Bad.

  • Babaloo

    No one will be happy with the final result. Honestly, the recent electro (not electro house, there is a distinction) scene bloated up by 2007 and commercialized.

    People will bitch about the documentary all they want, however watch others like Better Living Through Circuitry, etc and each has their focus. The director probably focused on artists that were available to him, and yes it may seem dated because it takes a long, long time to culminate a lot of interviews for a project like this. Look at Exit through the Gift shop, that was filmed years ago and just saw the light of day this year.

    No documentary will be perfect, especially on a scene where things change so quickly. The issue I can admit to with this Electro Wars is that it puts too much emphasis on the sub-genre of electro and blog house instead of electronic music as a whole…but honestly, there has not been a documentary on this scene and its time-frame of 2005-2007 (peak years). So…have at it and go see it. Then go watch other documentaries on other scenes and styles, which there are plenty of. If not read books like Last Night a DJ Saved My Life (that should be made into a movie), etc.

  • Okay, here's the thing about electronic music – it is broad. Too broad to be covered in one feature length documentary. Trying to put over half a century of history into less than two hours is an impossible task. The only way you'll ever be able to properly cover everything is in a Ken Burns "Jazz" type of series. And even then people will be pissed off at omissions, weighted focus, lack of representation, etc.

    So if your expectations for any documentary film on electronic music or really any umbrella genre of music is to get the whole picture you're setting yourself up for disappointment. Conversely, any filmmaker attempting to create such a piece without major funding support and the running time to do the whole job, is also setting themselves up for failure.

    Fortunately I don't think Stephen is guilty of this at all. At this stage he has zero'd in one a particular sound during a particular period and done the legwork to document it. He isn't attempting to present the whole history, but at the same time what I was trying to illustrate in the interview is that he understands that his period of focus did not occur out of a broader context even if he cannot cover it all within the documentary itself.

    Again let's not forget that this was done based on Stephen's initiative without major backing. The cost to cover 'the whole scene' for an independent filmmaker would be staggering. Does that mean they shouldn't do it though? Absolutely not. Perhaps in doing what they can and doing it well, others will be inspired to pick up where they left off, or fill in the gaps, or perhaps in doing what one can, the opportunities to do more will open up.

    We should not wait for a Ken Burn's like figure with the backing to cover the whole thing to come along before we start documenting our scenes. It's my hope that if anything Stephen's story inspires more filmmakers to take to the task of documenting their scenes.

  • bliss

    "I’m excited about contributions from all over the world (Asia? Africa? Australia?). Whether this documentary screws it up or not, the idea that Europe is somehow not central in the discussion of electronic music has to be the stupidest thing I’ve ever heard. That’s like saying, "jeez, can you finally give Europe some credit for football already?'"

    Well said, PK!

  • amen peter.

  • cubestar

    Ugh. Like DJs need more exposure.

    About the USA-Centric thing, could be that the director couldn't afford to go around the globe?

  • fredo

    This doc should spur UK and Euro people to document their own local scenes. Buy or borrow a cheap video camera and do it!

    I wish I would have done the same when I was a kid back in '88 in Liverpool when acid house first exploded. Quadrant Park, the State, etc. Those were revolutionary times and there is very little footage to show for it.

  • @Joshua: I don't have to defend the documentary or posting an article about it, because I didn't make the documentary.

    That said, I'm with Primus Luta. A documentary maker must focus in on a specific scene. They just can't cover everything, period. Now, maybe the documentary should bill itself differently as a result. That's clear from the feedback. And it's totally legitimate to say this seems focused on certain scenes at the expense of others (that's the impression I got, absolutely). But it's not okay to keep reverting to this name-calling with "hipsters" or saying you hate Americans or something is wrong with Americans as a whole. (Aside from things like liking beer cold and using weird non-metric measurements, you really can't generalize about 300 million people in the US.)

    If BBC does a docu that's British-focused, that doesn't mean it's an excuse for me to say I hate British people. 😉

    And yes, if people feel slighted (though how anyone could suggest that Europe is starved for attention in electronic music is baffling to me), yes, help us out. Tell us what you think should be documented. Point us to a better documentary. Go make your own documentary, write a post for us, anything.

  • This is not to get pulled into a little light trolling, but you know, I think part of the problem is how we refer to ourselves. I could call myself "American," another reader could say "European." Odds are, though, knowing the tastes of readers on this site, that means tastes that are far from the mainstream of either continent. And that's a good thing. In fact, musical tastes worldwide are arguably becoming more pluralistic, with a longer "long tail" if you want to think about it that way and weaker sales at the top. Record labels like to say that it's due to piracy, but that's because the majors aren't pleased that we're not all buying their manufactured superstars in the same quantities we used to.

    In the past few months, I've gotten on planes to hang out with people in Boulder, Colorado and Berlin and Portugal who have a lot in common when it comes to musical tastes (and in turn met people from several other continents). And obviously, while I (usually) write stories for CDM for NYC, this very site doesn't really exist in any one place. It's the global scene that's interesting.

    So yes, I'd be inclined to take this feedback and wonder how someone might tell a more global story, sure. I just wouldn't phrase that criticism in terms of "I'm from Europe!" or "I'm from Queens; why is everyone here from Brooklyn?" or something like that.

    In fact, maybe we need an electronic music equivalent of this. 🙂

  • Barf

    I thought LMFAO and 3OH!3 were weird radio joke bands? You learn something new every day…

  • @Joshua Ellis

    links to those Warsaw dudes, please? 😀

  • many hipster insults…
    really gotta agree with peter and say, if the documentary isn't covering what you want…. then film your own!
    this is just one perspective…
    "electro" (which just kind of seems to mean "club" in this preview) is undoubtedly what you can expect at current from the mainstream
    to hate people for making a preview of a documentary, trying to follow that trend… is just silly….
    i dunno, the mainstream pretty much evokes zero on the emotions scale for me…
    i had to google blog house…
    as far as a description, it was perhaps the vaguest ive come across as a genre…

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  • wait… the "blog house" thing wasn't a joke? please tell me it was a joke..

  • 3ohMy

    happy to see that this discussion turned into some constructive criticism.

    a lot of these comments are totally useless…

    "I hate americans", (really!? c'mon, surely you can do better than that? wait. i hate europeans. wow. that felt great! no, no, wait! i hate africans too! now i feel on top of the world!)

    "it looks like america hipsterville to me than actual a world wide electro doc.oh well"

    can't wait to see your Neu's "World Wide Electro Doc".

    it's going to be riveting.

  • 3DDD

    This is a documentary about real electro:

  • 3DDD

    wow I can't make these f%!INg tags work.
    Just google: Darkbeat: An Electro World Voyage Trailer

  • neu peter says:It’s the global scene. thats the point world wide my talking about. you made the title your self to pitch a doc flim not me.

  • flip

    @edison: Me too!!!

  • flip

    @peter: Geesh…I guess any USA/European electro turf/flame war should be squashed with, "The 808 was invented in JAPAN!"

  • flip

    @3DDD: I thought you were being sarcastic on that first post.

  • flip

    @peter: Definitely some trolls in here… Even though I think "Cobra Snake" is a talentless douche bag who happens to own a Canon Rebel, I'd still peep this film to see if it was interesting. As far as anyone's claim to music ownership or territory? OK: Let's see you document your ownership of those 12 notes. (or anything in between)

  • @ Peter

    Hey, I'm not hating anybody here, but maybe I'm not expressing myself clear: to me THE TRAILER seemed too "scene centered" vs "music centered" (understanding "scene" as lifestyle, fashion and trend). That's a general problem when dealing with "electronic culture" and I should clarify that I'm more of a circuit geek than a hardcore clubber. In my own country, in festivals like SONAR or Creamfields, a lot of people goes there just for the party instead of the music. They don't really care too much about who's playing, as long as they play fast simplistic 4 by 4.

    There's a spanish sort of mockumentary called "The Mix" that was the perfect example of that bad idea: lots of cute boys and girls dancing, dj's like rock stars and a lot of "parteeeeeee!!!", so every kid watching it could think that house was invented in 2003.

    And about my comment on dancefloors:

    "No ofense to anybody, but not every dancefloor in the world is based on Beyonce, Kanye and cheese r’n'b"

    I was talking about the notion of "suddenly all hip hop dj's are going electro" given in the trailer, not about my perception of the US and canadian scene. Anyway, my comment was too simplistic to be taken so seriously. In Spain, hip hop is not mainstream (I'm not taking Black Eyed Peas as hip hop) so it simple sounded VERY STRANGE to me to think about it as club music. Usually, local b-boys HATE any techno/house related tune (sometimes they hate it too much that they don't allow the hip hop dj to go anywhere faster than 90-95 bpm, as if that mean they are REAL by hating techno… and that's another story). We have the language barrier so many of the hits are local bands, not acts like T Pain on Kanye. Again, my comment wasn't very precise on that.

    I was critic about the documentary's point of view all time, precisely for not representing the true richness of the panorama that wants to portrait (at least, in its trailer form). Let's watch it when it's finished, so we could judge the whole story instead of ranting about a preview.

    I didn't mean to offend anybody or start a "USA vs Europe" debate. So please blame me of being a nerd, not an anti-american (or any given country). Sincere apologies to anybody who felt offended.

  • brolectro

    music for bros. "look at my cool ass hat, and my cool face pose, yeah im phuking electro." freaking clones.

  • and

    Peter, it would behoove you to stop posting lame stuff like this.

  • blog house aint elec

    "It has come to our attention that some losers that produce handbag apres-ski (spring break) farmerboy trance/clubpop of the most horrible kind dare to call that crap ELECTRO nowadays. It has nothing to do with ELECTRO and its a straight up wrong use of the term…a falsification of history and disrespect to many.
    Those idiots don't understand the jams from the Naayifsh Planet Rock Lover angle , they don't know what a TR808 is and probably never seen a SL1200.
    This amsterdam fake electro is made by talentless & fantasyless pretentious cokeheaded pricks that don't give a fuck about music— but only how their hair looks (als je haar maar goed zit jaja) and how they can score enough poppers to put in their flobby asses so they can shit all over huppelkut ableton ipod mp3 players well fuck you all you know who you are we are going to DISSSSS your ass of with our TR808s, BMWs and the knowledge of TRUE ELECTRO!!!!!!

    D.Smabers & Moerwijk Crew"

  • 3ohmy

    @neu you don't seem to get my point. OH WELL.

  • 3ohmy

    I still don't understand why "fag" is seen as an insult.

    Peter, I'm sure you did not post that, right?

    wow so many people on this post just don't get it, do they. mind you, I should probably not waste my time posting replies to what are probably a bunch of spotty teenage bedroom wanna-be dj's who can do nothing but criticize other musician's endeavors.

  • @3ohmy: No, obviously, that was an imposter because of our open comment policy. 😉 I'm usually not in the habit of hurling slurs at myself (or anyone else)!

  • I will say, thanks to that person pretending to be me *insulting* me, leaves really no doubt about the fake origin of the comment…

  • flip

    @peter: Nothing more insulting than being called a cigarette. A copulating one at that. 🙂

  • 3ohmy

    @flip: brilliant. LOL.

  • two cents

    prefer the gear and procedure content of this blog- hard to find elsewhere… dialogues about taste and style are at a saturation

  • Justin Reed

    I do think this is out of scope for this blog but interesting nonetheless. just wanted to add my two cents on this as i have heard a lot of the music in question (likely more then yer average CDM reader)

    as some have said – electro house has very little in common with traditional electro besides elements common to all dance music. i have a love and respect for authentic electro music (as i have understood it from the kraftwerk prototypes through NY, Detroit and accross the world).

    That said i do have a soft spot for some elements of modern "electro" house and fidget music. I would even say that the movement has pushed house and techno into new dimensions of raw and funky. i think a lot of the top notes and have been hit by (Dave Taylor) with a bevy of stone cold modern classics in my book.

    others like the italian Crookers drop heavy grooves that dissolve into wonky over-indulgeance (IMO). BUT – with a little serato prep i can take the funkiest 16 bars of the track and avoid the exploding circus. like pulling an ounce of gold out of a block of cheese. it's remix culture right?
    if anyone is interested i have a mix online with a posted tracklisting- it's a little raw as it was recorded live on NYE but i think it's got some good bits.

    I try to move in and out of that heavy fidget sound to employ a bit of dynamics in the mix – it was nye eve though ;).

  • Space Age

    So dumb. An insult to documentaries and music journalism as a whole.

    Also most of it was undoubtedly filmed at a series of gross Webster Hall parties.

  • Andrew

    I think it's really important that this NEVER be released. God forbid this guy actually thinks he is educating people. A-Trak and Armand Van Helden play new wave disco? That is a shock to me. Stuff like this is dangerous because it's the blind leading the blind, this guy obviously has an extremely limited scope, giving his opinion on the importance of LA and how integral Blog-House is to EDM in general. Of course this is my opinion, but it is the opinion of someone that would never entertain such a pompous, overhyped project. Blog-House, LA, Aoki, these things are very unimportant to the current state of electronic music and it would be a shame to have something produced that grossly misrepresents Los Angeles (there actually is good music out here). Ultimately, this guy does not know anything about electronic music and that little history lesson (Kratftwerk, etc.) is the first thing you would read on some reference website. Really, he probably took 5 minutes to look through some hypemachine website an then continued to listen to his "electro jams". This truly worries me and I would hate to think this could have an impact for someone that could take this impending piece of garbage at face value and not with several metric tons of salt.

  • b

    Agree with Andrew… seems like the director did a brief search on eletronic music history to drop names like Kraftwerk, Atkins and Bambaataa but actually has no clue / respect for the history of EDM. If he did have some respect I don't think he'd actively contribute to the terrible confusion that exists in the US with regards to EDM. One of the biggest problems in the US is that you say 'techno' and people think its horrible Van Buuren, Tiesto trance…. With the blog house explosion of the last few years when you say 'electro' they're going to think obnoxious loud disposable bangers by Aoki, MSTRKFRT and 3Oh3! Man that is really fucked up!!! When I say 'electro' I want people to think Bambatta, Al Nafyish, Dopplereffekt, Drexciya etc. Music that is not disposable and has long-term artistic value!

    Unfortunately with films like this it seems EDM is doomed to be misunderstood and looked down upon in the US forever…

  • jesi

    this is hilarious. "blog house"!
    electronic music is seen as this freak value oddity in america. its so integrated into everyday culture in europe that a doc about it would be redundant.

    and what the f is up with you UK ppl saying "ooh this could encourage us " Dubstep. Grime. Jungle. UK House (Roska, Cooly G etc). It never stopped, you just got old, and disconnected with it.

  • strunkdts

    this is the shit end of the EDM stick

  • JP

    Agree with JESI…

    I can understand america getting to grips with this hollywood electro , and focusing on L.A – As someone mentioned maybe the filmmaker couldnt travel to europe etc..

    But once again the USA has just made a genre corporate/cheesy, take this style of music which is a part of everyday life here in the UK and Europe, put on some sunglasses take a trendy photo to make it cool.

    Just remember to give thought to all those UK dj's playing electro/club in converted south london toilets years before this film was even conceived.

    And to say electro was born out of hiphop is just plain wrong, now all the U.S rappers want to rap over Dubstep which people probably think started in L.A.

    Sorry to rant but get a f**king passport, cause i promise you there is dry land on the other side of the atlantic.

  • went no where did nothing

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  • aCe aCely

    Still waiting for a ’78-’81 Minimal Synth Doc. Based on French,German, English, Italian,Spain blah,blah,blah…..oh F’ It way too broad… 😉