Follow Billboard. All rights reserved. Calvin Harris performs onstage during The dance music scene came alive in
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Dancing remains a collective enterprise, but the most exciting developments in electronic music this year tended to arise from deeply original and idiosyncratic visions. Ambient went globe-trotting, electro-pop turned liberationist, and footwork got completely retooled. Even reggaeton and dancehall proved fodder for slyly experimental treatments, while house and techno, those old standbys, were most exciting when they seemed closest to morphing into other, less recognizable sounds. It was a year in which there seemed to be little consensus about the way forward—but in spite of that, or maybe because of it, the margins were alive with creativity. Listen to selections from this list on our Spotify and Apple Music playlists. Reportedly inspired by the properties of chrome, it nevertheless hides considerable warmth within its quicksilver curves at least compared with his usually chilly outlook. The lo-fi smudges of his previous records have largely been wiped clean, as if with hot breath and moleskin, replaced with digital synths that twinkle like LEDs.
All my conversations with electronic-music heads have had a common theme recently: Everyone agrees that there was little consensus in dance music this year. Every year, there are more scenes running in parallel, fewer standout anthems that everybody can agree on. Plenty of reliable figures kept doing what they do best—Four Tet and the Caribou side project Daphni turned out well-regarded albums, for instance—but aside, perhaps, from Bicep, there were few emergent artists with wide crossover appeal. The good news, though, is that there were plenty of pockets of brilliance across the underground, both in terms of micro-scenes and individual artists boldly blazing their own paths.
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