Dance Music In 2000
Hasan Fogg
Today I learned a little bit about this yearly event called Swirl that used to take place up in Montral in the early-to-mid-2000s. It was a big rave that attracted thousands to enjoy not only dance music, but hip hop as well. And maybe that attempt to blend those two different types of music under one roof is what gave this event its name ?.
But look at this list of heavy-hitting DJs, man!: Laurent Garnier, Richie Hawtin, Tall Paul, and Frankie Bones in the main dance room and then Tony Touch, DJ Revolution, Phife Dawg, and Peanut Butter Wolf in the hip hop room! And at a giant venue like Olympic Stadium where the Expos played too?! What could have been! ??
Anyway, again, if the bill for Swirl 2000 was anything like the bill for the one that succeeded it, then you can pretty much guarantee that its DJ sets were magnitudes better than what ended up being placed on this CD to promote it. Pas bon!
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The 2000s was a decade that brought about some of the most memorable and influential dance songs of all time. From electronic beats to pop-infused anthems, the era was a melting pot of musical styles that united people of all ages and backgrounds on the dance floor. With iconic artists like Beyonc, Rihanna, Justin Timberlake, and Lady Gaga taking the lead, the 2000s saw the rise of electronic dance music, the emergence of new dance genres, and the continuation of classic disco and funk sounds. The decade was also marked by an increase in music streaming and digital downloads, allowing for wider access to music and further promoting dance music culture worldwide.
In this article, we will explore the top 100 best dance songs of the 2000s. These songs were selected based on their impact on the dance music scene, their chart success, and their ability to get people moving and grooving on the dance floor. We will take a trip down memory lane and revisit some of the most iconic dance hits of the decade, from club bangers to party anthems, and everything in between. So put on your dancing shoes and get ready to relive the best dance music moments of the 2000s.
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In this paper new evidence is provided to indicate that vestibular responses may be obtained from loud dance music for intensities above 90 dB(A) SPL (Impulse-weighted). In a sample of ten subjects acoustically evoked EMG were obtained from the sternocleidomastoid muscle in response to a sample of techno music typical of that which may be experienced in a dance club. Previous research has shown that this response is vestibularly mediated since it can be obtained in subjects with loss of cochlear function, but is absent in subjects with loss of vestibular function (Colebatch et al. [J. Neurol. Neurosurg. Psychiatr. 57, 190-197 (1994)]. Given that pleasurable sensations of self-motion are widely sought after by more normal means of vestibular stimulation, it is suggested that acoustically evoked sensations of self-motion may account for the compulsion to exposure to loud music. Given further the similarity between the thresholds found, and the intensities and frequency distributions that are typical in rock concerts and dance clubs, it is also suggested that this response may be a physiological basis for the minimum loudness necessary for rock and dance music to work-the "rock and roll threshold".
I've just watched an experimental dance music gig created by an artist playing Half-Life. Graham Dunning has replaced every single sound in Valve's shooter with samples he says come "from 90s rave tracks and sample CDs", giving Gordon Freeman drums for feet, making sentry turrets loop vocal samples, turning ambient sounds into pounding loops, blasting drum breaks out guns, and all that. So he creates improvised music just by playing the game. He performed for two hours today on Twitch and it is: so good. Come see today's show!
That was cracking, that. Often he just played Half-Life, letting the music be whatever came out when he played. Other times, he consciously performed. My favourite part was when he paused to stare at a skull, flicking his flashlight on and off to play vocal samples that became stuttering, almost gasping, while distant environmental beats quietly ticked on a steady rate. Another triumph for environmental storytelling's love of skulls. The resonance cascade is cracking too.
There's a few elements to Dunning's performance. Ambient sounds loop constantly, making the Black Mesa complex functions a giant sequencer you move through. Scripted sequences become intense little composed parts too. Dynamic elements come in through what Gordon and all the other characters get up to. The environment provides steady beats, different elements dropping in and out as he moves around. Footsteps thump and crash drums. NPCs generate their own little dynamic performances. Fights bring brief intense moments. The way Half-Life aggressively distorts sounds in certain spaces works nicely too.
I wasn't into rave in the 90s but these sounds were everywhere, and I love hearing them rearranged into this new form. And even I recognise bits like the "let me feel your warm embrace" off Baby D's Let Me Be Your Fantasy, which I believe here replaces the looping 'active' beep of sentry turrets.
He's put a few Panopticon samples up, including this pleasantly simple song built from firing a gun turret in a corridor. That's just the background sounds, the gun, and different instruments coming in depending on the materials the bullets hit.
I can't let this end without mentioning Devil Daggers, the FPS which comes out the box sounding like an unearthly gig of grinding teeth, roars, and warbling. Proper lovely, that. And hot tip: if you view a replay slowed way, way, way down you've got several hours of rumbling ambient music. Love that Devil Daggers.
Far from the underground, the indie dance music released between 2000 to 2010 has become iconic and pivotal. At the beginning of the millenium, the genre showcased emerging artists from developing countries and NYC DIY circles, whose global sounds influenced contemporary mainstream pop.
Albums from this era blended traditional pop and R&B with European house, industrial music and trip house by Prodigy, Massive Attack, and Portishead. Many ditched guitar-driven production in lieu of 808 drum machines. Bands from this era were pulling influence from early trip-hop pioneers like Prodigy, Massive Attack, and Portishead which medled hip-hop beats with Gothic, ethereal vocals.
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