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Intelligent Dance Music vs. Stupid Dance Music: Othering in Electronic Music

Shahryar Nagi


Intelligent dance music, more commonly known as IDM, is a subgenre of electronic music which emerged from the UK in the 1990s. At the surface, its characterized by idiosyncratic time signatures and beats and takes a more experimental approach to electronic dance, forming out of the tail end of the acid rave and techno scene which lasted from the late 1980s to early 1990s. Even before listening to any song from this genre, the name of it will stick out first: intelligent. How and who decides what music is ‘intelligent’ or not? If IDM is ‘intelligent’ then is all other dance music stupid? Am I intelligent if I listen to IDM? The answer to these questions partly lies in the music itself, but mostly lies on the fandom surrounding it.


By calling one genre of dance music ‘intelligent’, one is automatically implying that all others are stupid and, hence, othering the people who listen to any other form of music. But why did this label arise? This is due to the general structure of IDM songs which often have no distinguishable melody and often consists of a simple drum and bass beat repeated over ambient synthesizers. In other words, its not catchy. You’ll find it to be a challenge to hum your way through these or even to distinguish between many of the songs from each other (or maybe you like it). What comes apparent from this, however, is that IDM isn’t easy to listen to. At least compared to something on the radio or trending on Instagram and TikTok. Thus, the fandom surrounding this genre has created a level of superiority attached to IDM as a way of rewarding themselves for liking this niche sub-brand of music which 'less intelligent' or 'stupid' people don’t go near.


The term, itself, spawned out of the early days of internet forums when in November 1991, the phrase "intelligent techno" appeared on Usenet in reference to English experimental group Coil's The Snow EP. From there it gained traction in print media and became the mainstay term for this music, which had many emerging stars throughout the 1990s such as Aphex Twin, Autechre and Squarepusher. The name hasn’t gone without controversy within the genre, however, as most artists who make IDM have derided the term as being snobbish and emphasizing the working-class roots of the people who made this music. Why then has the term survived? And is it even that deep? Both answers to these questions lies on the boom of the internet in the 21st century.


It would be an understatement to say that the internet has increased in scale since the 1990s, with forums such as Usenet being in abundance today. Websites such as RYM (Rate Your Music) and Reddit have been home to the current day music fandoms and have not only kept up the tradition of excluding people on the base of what music they listen to, but have amplified it even further as these sites, and many others, are riddled with pretentious and misogynist undertones regarding music discussion. The label IDM might not be a huge issue within the genre and its artists but it indicates to a much larger trend of categorizing people into 'deserving' and undeserving' music listeners on the internet. An example of this from popular culture can be seen in the recent ticket shortage fiasco for the Oasis reunion tour. Anais Gallagher, daughter of Oasis guitarist Noel Gallagher, criticized one of a myriad of comments which were published on Facebook on how younger female fans of Oasis were less deserving of tickets than older and 'original' male fans. This form of discrimination is all but common on music platforms on the internet and shows how the most insignificant part of music, the labelling of a genre, indicates to a much larger issue of exclusion in enjoying music.

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This post presents an excellent exploration of the implications of labeling genres like Intelligent Dance Music (IDM) and the biases that come with such classifications. It effectively challenges the definition of "intelligent" in music and it can further be explored whether we truly separate artistic merit from personal preference?

The connection between fandom and identity is interesting, especially in how IDM fans may foster exclusivity. The discussion on class is crucial; investigating how socioeconomic factors influence access to various music genres. This could help further highlight the divide between “intelligent” and “stupid” music.

Additionally, the historical context of IDM's emergence from the acid rave and techno scenes adds depth and interest, showing us how technology and production techniques have shaped…

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By highlighting how the term "intelligent" creates a sense of superiority, you skillfully point out the exclusionary tendencies in music culture. The use of Pierre Bourdieu’s concept of “cultural capital” would enhance this analysis, as it directly addresses how certain tastes or preferences, such as listening to IDM, are framed as superior, thus granting higher social status to those who engage with them.


Bourdieu’s theory suggests that cultural consumption is never just about personal preference but also about social positioning. In the case of IDM, the fandom seems to place intellectual value on a genre that is difficult to engage with, thereby, like you said, othering people who enjoy more mainstream or catchy music. The implicit claim is that those…


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