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Brian A. Gnatt Daily Arts Editor |
According to the musical powers that be, the stars have realigned and a new musical revolution is finally upon us. The hype has hit the streets and the critics agree that electronic music is the next big thing.
But they're all wrong.
Electronic music may see a quick jump in sales and popularity in the next few months, as it has in the past few months, but don't bother beefing up your techno and electronic-rock CD collections just yet.
Even if electronic music is supposed to be "the next big thing," it's not going to be the next "really" big thing. Electronic music doesn't have the same potential to win over the masses like most other forms of pop music. Its throbbing beats might be great for dancing, but most of it doesn't possess the oomph it takes to make hit records in the U.S.
The main problem with electronic music catching on with the masses lies within the heart of the music itself. Because it is supposed to be danceable, most of the music's emphasis is placed on the bass and drums and little time is taken to develop powerful lyrics, catchy melodies or even mildly entertaining riffs.
Even though bands like The Prodigy and The Chemical Brothers might get some airplay, don't expect the group's upcoming album to hang at the top of the charts in the U.S. America's masses don't want to hear The Prodigy's Eurotrash freak vocalist scream unintelligible lyrics like "I'm a firestarter, twisted firestarter / you're the firestarter, twisted firestarter" over less-than-interesting music.
How can critics think the masses will fall for electronic music, while most Americans still haven't gotten over bands like Hootie and the Blowfish that sing generic campy songs about holding hands? Quite disappointingly, that's what most of the nation's music buyers want - cheese rock, Hootie style. These are the kinds of songs Americans want - songs they can sing to while in the shower; while sitting around a campfire; songs they can play on their acoustic guitars when drunk.
That mass appeal and easy access was part of Pearl Jam's initial success. Every amateur guitarist has tried to play "Alive" at some point in time. The same goes for Nirvana, Green Day, Hootie and the rest of the recent multi-platinum successes.
With electronic music, however, you lose that human feel and there aren't any opportunities for sing-a-longs and jam sessions. You simply can't sing Chemical Brother tunes while roasting marshmallows. Without that intimate bonding with a song, there's no way for a tune to seep deep into our souls.
How often do you hear someone whip out an acoustic guitar and start playing and singing the words to The Prodigy's "Firestarter?" Not too often. The song has no melody, no real riffs, no real anything but a throbbing beat. Without that musical warmth and downhomeness, it just isn't likely they'll sell a boatload of records in America.
That's why people like Hootie, John Mellencamp, Bruce Springsteen, The Dave Matthews Band and Pearl Jam have been so successful - they were able to strike a chord with the public.
Electronic music may be able to sell in the U.K., but that is a very different market (many of them still dig Right Said Fred). Electronic music will most likely be big with the "in" crowd, but I wouldn't expect to see a full musical revolution anytime soon.
In the post-grunge era that we've been stuck in for some time now, it is safe to say we are in desperate need of some new mainstream musical acts and influences. Will electronic music fill the shoes of grunge and pop-punk? Who knows. But hopefully something will be here soon to make the airwaves passable once again, and I don't think Eurotrash like The Prodigy is going to do it.