[Column] The 100 most influential records in music history: A new history of music reconstructed based solely on its influence on contemporary music (Part 2, 11-20: Rock, hip-hop, electronic music - the birth of a new musical language)

Column en Hiphop Sampling Techno

29 Jun 2026

[Column] The 100 most influential records in music history: A new history of music reconstructed based solely on its influence on contemporary music (Part 2, 11-20: Rock, hip-hop, electronic music - the birth of a new musical language)

2nd Part 1 (11th place)

Bitches Brew

The moment when jazz swallowed rock and erased the “genre”

Bitches Brew, released in 1970, is not an extension of jazz.

Rather, it was ““the moment when the language of jazz itself was dismantled and transferred to a new sound system.’’

With this work, Miles Davis intentionally destroyed the framework of jazz, rather than completing the history of jazz.

The result was a ““third realm of music’’ that was neither jazz nor rock.

Late 1960s: The limits of jazz

In the late 1960s, jazz was already polarized.

Traditional development after bebop
Extreme liberalization of free jazz

However, both were based on the ““grammar of jazz.’’

Miles Davis sees through this early on.

His problem was not technology, but ““formal obstruction.’’

Encounter with Rock changed everything

At the end of the 1960s, rock music was rapidly expanding.

Electric guitar amplification
Long improvisations
Psychedelic culture
Studio experiments

These were beginning to overlap in nature with jazz.

Miles Davis observed this trend and came up with the opposite idea: ““Jazz absorbs rock.’’

“Chaotic design” called session

The recordings were made in multiple studios (including Columbia 30th Street Studio), using a completely different method than typical jazz recording.

Features are:

Almost no pre-rehearsal
Long improvisational sessions
Simultaneous placement of multiple drummers and multiple bassists
Reconfiguration by editing

This is more like “gathering materials” than “performance.”

Producer Teo Macero’s editing revolution

Teo Macero’s presence determined the essence of this work.

He turned the music into “compilations” by cutting up and reconstructing the recorded tapes.

Loop phrases
Rearrange sections
Destruction of the time axis
Fixed contingency

In other words, here, ““editing” rather than ““performance” is the act of composing.

flowchart TD A[impromptu session] B[Mass recording] C[tape editing] D[Rebuild] A --> B --> C --> D D --> E[Completed work (edited music)]

Disappearance of genre

The biggest feature of ““Bitches Brew” is its ““blurring of genres.”

*Not jazz

Not even rock
Not even funk
But everything is included

この状態は後に「ジャズ・ロック」や「フュージョン」と呼ばれるが、本質的にはどのラベルにも収まらない。

音楽の主体が「個人」から「システム」へ

Traditionally, jazz focused on the individuality of the soloist.

しかし本作では構造が逆転する。

Individual performance → system output
Improvisation → Materialization
Completeness → Fluidity

Music will no longer be determined by who played it, but by how it was edited.

後続音楽への影響

この作品の影響はジャンル横断的である。

Fusion (Weather Report)
プログレッシブ・ロック（King Crimson）
Ambient/electronic music (Brian Eno)

特に重要なのは、「編集＝作曲」という概念の一般化である。

Why is it ranked 11th?

"”Bitches Brew’’ is not the completion of jazz.

Rather, it is a ““deconstruction’’ of the language of jazz.

However, at this stage, music is still within the scope of ““genre reorganization.’’

In the top works, the genre itself loses its meaning.

「『Bitches Brew』はジャズを破壊することで、新しい音楽の編集思想を生み出した作品である。その歴史的転換点として本ランキング第11位に位置付ける。」

2nd Part 2 (12th place)

The Rise and Fall of Ziggy Stardust and the Spiders from Mars

「キャラクターがアーティストを乗っ取った瞬間」

The Rise and Fall of Ziggy Stardust and the Spiders from Mars, released in 1972, was the definitive album in rock history that disrupted the relationship between “self and work.”

With this work, David Bowie presented a new methodology of performing music as a ““fictional character’’ rather than just a singer.

It was also the moment when rock moved from ““representation of reality” to ““a fictional performance space.”

The collapse of rock realism

Until the 1960s, rock music was basically an expression of the ““real self.’’

Real experience
社会批評
感情の吐露

しかし『Ziggy Stardust』では、この前提が意図的に破壊される。

主人公Ziggy Stardustは、地球に降り立つ架空のロックスターであり、メッセージと終末思想を背負った存在である。

In other words, this album

Not “a work in which an artist plays a character” 「キャラクターがアーティストを支配する作品」

It is.

コンセプト・アルバムの新しい形

Recording was done at Trident Studios, with producer Ken Scott constructing the sound.

Features are as follows:

Song order with story
Lyrics unified from character perspective
Theatrical vocal expression
ギター中心のグラムロック構造

flowchart TD A[David Bowie] B[Ziggy Stardust] C[fictional character] D[アルバム構造] A --> B --> C --> D D --> E[Narrative rock]

The “masked culture” of glam rock

This work is considered a symbol of glam rock, but its essence is more than just flashiness.

What is important is the ““fluidization of identity.’’

Gender ambiguity
Collapse of the boundary between stage and reality
Confusion between performer and role
観客との距離消失

Here, for the first time, rock moves from ““self-expression” to ““deconstruction of the self.”

Shift to “rock = narrative device”

Before Ziggy Stardust, an album was a collection of music.

However, in this work, the album itself becomes a “narrative structure.”

While each song stands alone, they all function as complementary pieces to Ziggy’s story.

This later became the standard structure for concept albums.

“Reality collapse” that occurred at a live performance

ツアー終盤、Bowieは突如としてZiggyを“殺す”ことを宣言する。

これは単なる演出ではなく、キャラクターと現実の境界を意図的に断ち切る行為だった。

The audience loses ““who are they looking at?’’ and the concept of subjectivity in rock is shaken.

Impact on subsequent cultures

The influence of this work goes beyond music.

Performance art
Theatrical live structure
Visual kei culture
Conceptual pop

It was further extended to Roxy Music and subsequent glam/art rock as a whole.

Why is it ranked 12th?

"”Ziggy Stardust” is a work that introduced the concept of ““fiction” into rock.

However, the focus is still on the area of ”“story and direction’’ rather than the structure of the music itself.

上位作品群では、音楽はさらに社会構造や技術構造そのものへと侵食していく。

“‘Ziggy Stardust” transformed rock from a real record into a fictional stage, and introduced a “character’ subject to music. Due to its innovation, it is ranked 12th in this ranking.”

2nd Part 3 (13th place)

Exile on Main St.

“The “last community” that was established while rock was collapsing”

Exile on Main St., released in 1972, is not so much a completed album as a record of the process of collapse itself.

During this period, The Rolling Stones were semi-exiled to a villa in the south of France due to tax issues and a change of base.

The result was not a sophisticated studio work, but a ““drifting rock’’ that absorbed miscellaneous echoes of American music history.

End of “studio work”

This album is characterized by a breakdown of clear production intentions.

Gospel
blues
Rock and roll
Country
Seoul

These are not unified, but rather remain in conflict.

The recording conditions were also less than ideal, with sessions held in the basement of Villa Nellcôte, both acoustically and technically unstable.

However, that instability is the essence of this work.

Editing is the “art of post-processing”

Producer Jimmy Miller completed the album by reconstructing fragmented takes.

There is no ““completed performance’’ here.

There are:

piece
Noise
Accidental riff
A crumbling groove

flowchart TD A[session recording] B[fragmentation] C[edit reconfigure] D[Album version] A --> B --> C --> D D --> E[Collapsed completed form]

Rock”s “community memory”

"”Exile on Main St.’’ doesn’t have a clear concept.

However, what exists in its place is the ““memory of the community known as the band.’’

I don’t know who is the main character
The boundaries between songs are vague
Lack of homogeneity in performance

Even so, the band remains viable because the band itself functions as a “social unit.”

Ghosts of American Music

Another important element of this work is its strong references to American music history.

Although the Stones are a British band, they are completely obsessed with the context of American music.

Delta Blues
New Orleans R&B
サザン・ソウル

They appear not as reproductions but as ““accumulations of quotations’’.

Rock”s “absence of center”

In this work, there is no longer a rock center.

Collapse centered on frontman
Obfuscation of song structure
Melting genre boundaries

ロックはここで「体系」ではなく「状態」になる。

Why is it ranked 13th?

"”Exile on Main St.” is not the final form of rock, but ““the last community that was established while collapsing.”

However, in his later works, music became even more personalized, electronic, and politicized.

In other words, this work is located at the ultimate end point of analog band culture.

“‘Exile on Main St.’ is an album that directly depicts the process of collapse of a rock band community, and is ranked 13th in this ranking as its ‘unfinished, completed form.’”

第2回 Part4（14位）

London Calling

“The moment when rock swallowed up ‘world news’”

London Calling, released in 1979, was a turning point when rock moved beyond punk and began to deal with the complexities of the real world itself.

With this album, The Clash retained the impulsiveness of punk while simultaneously introducing political, social, and cross-genre elements.

The result was not just music of rebellion, but ““rock that edits the state of the world.’’

The limits of punk and breaking through them

Punk in the late 1970s originally had a simple structure.

short songs
direct anger
DIY spirit
Anti-commercialism

But The Clash felt the format was saturated.

Therefore, they paradoxically move toward ““complexity’’.

Music as an “invasion” of genres

The biggest feature of ““London Calling’’ is its multilayered genre.

*Punk

Reggae
Rockabilly *Ska
R&B

These are not “integrated” but “coexisted.”

In other words, this album is not a fusion of genres, but a record of genre collisions.

The world flows into the album

The title track ““London Calling’’ is more than just a depiction of the city.

It is a media device that compresses the world anxieties of the time, such as the Cold War, nuclear anxiety, urban collapse, and information overload.

For the first time, music becomes a “substitute for news.”

Editing space called studio

Recording was done at Wessex Sound Studios and involved producer Guy Stevens.

His characteristic feature is not his technical perfection but his ““introduction of chaos.’’

In-studio improvisation
Intentional noise tolerance
Take inconsistency

As a result, the album approaches a ““record of the scene” rather than a ““prepared work”.

flowchart TD A[world situation] B[News/Anxiety] C[music production] D[punk impulse] E[London Calling] A --> C B --> C D --> C C --> E

From punk to post-punk

This album also marks the end of punk.

At the same time, it was also the beginning of post-punk.

Simple anger → structural criticism
3 codes → multi-genre
Local culture → global awareness

The Clash established “punk beyond punk” here.

Lock becomes a “world system”

The most important point of ““London Calling’’ is that rock began to deal with social structure itself.

Music is not an individual expression,

Politics
economy
Media
war

It will transform into an “information compression media” that simultaneously includes these things.

Why is it ranked 14th?

"”London Calling’’ is a work that decisively promoted the politicization and multiculturalization of rock.

However, at this stage, the expansion is still within the container called “lock.”

In the top works, this “vessel itself” disappears.

“‘London Calling’ expands punk into a multi-layered world perception and transforms rock into a media that integrates social information. Due to its historical significance, it is ranked 14th in this ranking.”

2nd Part 5 (15th place)

In the Airplane Over the Sea

“The moment lo-fi turned into a myth”

Released in 1998, In the Airplane Over the Sea is an unusual piece of work that, while deviating greatly from the grammar of commercial music, later rose to become a cult center in the Internet era.

Neutral Milk Hotel intentionally coexisted ““technical unfinishedness” and ““excessive emotion” with this album.

As a result, the music transforms into “raw faith” rather than sophistication.

Lo-fi is not a choice but a necessity

The sound of this piece is distinctly lo-fi.

But it’s not just aesthetics.

Recording roughness
Sound image mixed with noise
distorted vocals
Unstable mix balance

These are not ““stages of incompleteness’’ but inevitable collapses due to emotional overload.

Jeff Mangum, the missing center

The central character, Jeff Mangum, is a leader in a narrative sense, but at the same time he is a symbol of “absence.”

The album has an extremely strong narrative, but the narrative defies clear explanation.

Historical impact of Nazism *Anne Frank image
Cycle of life and death
Fragments of body and memory

These are presented as a chain of images rather than logic.

Recording = Diary = Ritual

Production was carried out under the conditions of Merge Records, and was completed with extremely limited budget and equipment.

The structure of this album is more than a “studio work”.

Personal diary
Ritual record
Memory reconstruction

Close to.

flowchart TD A[personal memory] B[historical images] C[musical expression] D[lo-fi recording] A --> C B --> C C --> D D --> E[mythical album]

“Acquired masterpiece” in the internet era

What makes this work unique is also the way it is evaluated.

It did not receive widespread commercial success upon its initial release.

However, in later years, it was rediscovered in Internet culture and reevaluated as a “cult centerpiece.”

Forum culture
Music blog
Recommendation algorithm
SNS sharing

These things amplified the mythical nature of this work.

Music becomes a “personal myth”

The essence of ““In the Airplane Over the Sea” lies in the music’s fusion of ““personal inner life” and ““historical memory.’’

This is no longer a pop song,

Myth system constructed by an individual

It is.

Why is it ranked 15th?

This work is outside the institutional center of music.

However, it was this “externality” that had a decisive influence on later indie culture, lo-fi aesthetics, and online music culture.

“‘In the Airplane Over the Sea’ is a work that gains value not from its musical perfection but from its unfinishedness and mythicity, and we rank it 15th in this ranking because of its cultural leap forward.”

2nd Part 6 (16th place)

My Life in the Bush of Ghosts

“The moment when the “voice” was released from music”

My Life in the Bush of Ghosts, released in 1981, was a work that fundamentally destroyed the conventional structure of ““song = lyrics = melody.’’

Here, Brian Eno and David Byrne intentionally stripped the music of its “singing subject” and transformed it into a system of sampling and editing.

“Voice” instead of “singing voice”

The biggest feature of this album is the treatment of vocals.

Existing broadcast audio
religious speech
political speech
Radio fragment

These are placed at the center of the song.

In other words, there is no ““singing person’’ here.

What we have instead is a “relocation of voices that already existed in the world.”

Sampling ethics and experimentation

At the time of its creation, this method was highly experimental and controversial.

Anonymization of original sound source
Re-editing cultural context
Relocation of meaning
Fragmented media usage

For the first time, music is established not as a ““creation” but as an ““editing act.”

Studio = collage space

The recordings were made in multiple studio environments, using a production method that is independent of any particular space.

これは従来の「演奏→録音→完成」という流れではなく、

素材収集→編集→構造生成

This is a reversal process.

flowchart TD A[Audio materials from around the world] B[sampling] C[Edit/rearrange] D[music structure] A --> B --> C --> D D --> E[post vocal music]

“Post-human music”

The essence of this work lies in the dismantling of anthropocentrism.

Traditional music:

Human sings
Performed by a human
Humans have meaning

“My Life in the Bush of Ghosts”:

*Voice is the material

Performance is construction
Meaning is an afterthought

この時点で音楽は「人間の表現」ではなく、「情報編集システム」へと変化している。

後の音楽への影響

The influence of this work is very wide-ranging.

Electronica
Hip hop sampling culture
Ambient collage
メディアアート

In particular, Brian Eno’s ideas became the basis for later environmental music and generative music.

Why is it ranked 16th?

"”My Life in the Bush of Ghosts” is a work that completely shifts the musical structure from ““performance” to ““editing.’’

However, at this stage, the music has not yet been established as a “work.”

In the top works, music further dissolves genre, system, and culture itself.

“‘My Life in the Bush of Ghosts’ is a work that separates the singing subject from the music and redefines audio as editing material. Due to its structural revolution, it ranks 16th in this ranking.”

第2回 Part7（17位）

3 Feet High and Rising

“The moment when hip-hop was completed as a ‘collage culture’”

Released in 1989, 3 Feet High and Rising quietly disrupted hip-hop at a time when it was defined solely by aggression and realism.

Here, De La Soul shifted the sampling culture from violence to “playfulness” and “intellectual construction.”

As a result, hip-hop is established as an ““expandable media structure’’ for the first time.

1980s Hip Hop Context

Hip-hop at the time had the following main characteristics:

Block party culture
Social realism
Funk-derived loops
MC center structure

しかしこの段階ではまだ「現場の音楽」に留まっていた。

Edited by Prince Paul Aesthetics

Prince Paul was responsible for the sound design of this work.

He sees sampling as more than just building beats.

Sound Quotes
Culture collage
Fragmented narrative
Radio-like structure

として再定義した。

Another world called “D.A.I.S.Y. Age”

The entire album is built on a unique worldview called “D.A.I.S.Y. Age.”

This is hip-hop’s earliest clear presentation of a “nonviolent utopia.”

Absence of violence
Humor *Pop culture requotes
Fragmented storytelling

This is where hip-hop begins to break away from reality records.

Sampling = Culture Edit

The essence of ““3 Feet High and Rising’’ lies in the redefinition of sampling.

It’s not just a matter of reusing sounds;

Re-editing the culture itself

It is.

flowchart TD A[funk/soul] B[Existing sound source] C[sampling] D[collage structure] E[new form of hip hop] A --> C B --> C C --> D D --> E

“On the eve of institutionalization” of hip-hop

This work is located in the prelude to the later institutionalization of hip-hop (gangsta rap).

N.W.A的暴力性ではない
商業ポップ化でもない
Artistic experimentation

It is an “open state” that exists in between.

Why is it ranked 17th?

3 Feet High and Rising expands hip-hop from “militant realism” to “cultural collage.”

However, hip-hop subsequently evolved in a more structural, political, and industrial direction.

“‘3 Feet High and Rising’ liberates hip-hop from its violence and transforms sampling into a language of cultural editing, and its innovation ranks it at number 17 in this ranking.”

2nd Part8 (18th place)

Straight Outta Compton

“The moment when hip-hop accused the city itself”

Straight Outta Compton, released in 1988, is an album that functioned as a “record” rather than an “expression” in music history.

Here, N.W.A separated hip-hop from entertainment and presented the reality of Los Angeles itself as music.

It”s not just a rap album, it”s a “city report.”

The reality of Compton

At the heart of this album is the reality of Compton, California.

Tense relationship with the police
Poverty and violence
Racist structure
Distortion of urban planning

These are not abstract themes, but are depicted as everyday life itself.

“Musicalization of realism”

The sound built around Dr. Dre and Ice Cube is heavier, more aggressive, and more spatial than traditional hip-hop.

In particular, the beat produced by the drum machine directly captures the tension of the city.

Inorganic rhythm
Bass pressure
Feeling of pressure due to repetition
Minimize sampling

音楽が“証言”になる瞬間

The essence of this work is not its message.

That is “testimony”.

For the first time, rap is not based on personal feelings,

Live broadcast of social structure

functions as

flowchart TD A[urban reality] B[police/violence] C[personal experience] D[rap expression] E[Straight Outta Compton] A --> D B --> D C --> D D --> E

Conflict with the media

The album caused strong controversy at the time of its release.

In particular, ““F–k tha Police” clearly showed that music functions not as ““freedom of expression” but as ““criticism of the system.’’

As a result, music becomes, for the first time, a cultural domain that directly confronts the state, police, and media.

“Politicization” of hip-hop

Before that, hip-hop was primarily about party culture and self-expression.

But N.W.A completely changes that.

Individual → Group
Play → Testimony
Entertainment → Accusation

Through this change, hip-hop becomes the “language of urban politics.”

Why is it ranked 18th?

Straight Outta Compton turns hip-hop into a social weapon.

However, at this stage, music still functions as a ““translation device for reality.’’

In the top works, music not only reflects reality, but begins to reconstruct reality itself.

“‘Straight Outta Compton’ transformed hip-hop into a media of urban testimony, establishing music as a direct response to social structures. Its historical significance ranks it at number 18 in this ranking.”

2nd Part9 (19th place)

Blue Lines

“The moment when the very air of the city was turned into music”

Blue Lines, released in 1991, is a work that dissolves the boundaries between hip-hop, soul, dub, and electronic music, and establishes the very essence of the city as music.

Here, Massive Attack puts ““space and gravity’’ at the center of their music, rather than beats and melody.

Bristol, the “city of humidity”

The background of this work is the urban environment of Bristol, England.

Cloudy skies and the tranquility of a port city
Mix of immigrant cultures
The intersection of rave culture and hip hop
Coexistence of street and introspection

This environment formed the “hypothermic texture” that forms the basis of the sound.

Undefined genre called trip hop

This music, which would later be called “trip-hop,” did not have a clear definition at first.

The characteristics can be organized as follows:

Slow tempo (hip hop slowdown)
Dub-like bass processing
Jazz chord feel
Fragment structure by sampling
Ghostly use of female vocals

With the participation of Tricky and Shara Nelson, the album loses its “physicality of voice” and instead becomes “the sound of urban breathing.”

Music becomes “scenery”

The innovation of Blue Lines is that the music no longer tells the story.

Instead there is:

Expansion of space
Slowness of gravity
city noise
Reverberations of memory

In other words, music becomes an “environment” rather than an “event.”

flowchart TD A[hip hop structure] B[dub bass] C[soul vocal] D[urban environment] E[Blue Lines] A --> E B --> E C --> E D --> E

“The end of club music” and “the beginning of listening music”

Until then, club music was based on physical dance.

But ““Blue Lines’’ betrays that.

Body → Environment
Dance → Silence
Beat → Space

This shift established electronic music as an ““introverted genre’’ for the first time.

Post-hip-hop structure

Although this album is an extension of hip-hop, it transforms its functionality.

Rap → Fragmented speech
ビート → 背景化
Message → Obfuscation

As a result, hip-hop changed from ““talking music” to ““drifting music.”

Why is it ranked 19th?

"”Blue Lines’’ is not a fusion of genres, but a work that presents the dissolution of genres themselves.

However, at this point, electronic music still remains a ““reflection of the city’’.

In the top works, the music does not reflect the city, but begins to redesign the city itself.

“‘Blue Lines’ established urban air, gravity, and humidity as music, transforming club music into environmental art. Due to this structural change, it is ranked 19th in this ranking.”

2nd Part 10 (20th place)

Selected Ambient Works 85–92

“The moment when music transitions from “composition” to “generation””

Selected Ambient Works 85–92, released in 1992, is a work that quietly shook up the concept of “composer” in the history of electronic music.

Here, Richard D. James, aka Aphex Twin, diluted traditional musical independence to the bare minimum and stepped into the realm of ““music produced by systems.’’

“Second generation” of ambient

Ambient, as presented by Brian Eno, was music as an environment.

However, ““Selected Ambient Works 85–92’’ takes it even further.

Does not exclude human emotions
But don’t say it clearly
There is a structure, but the intention is vague
Rhythm is present but not central

In other words, this is music that exists in an “intermediate state between humans and machines.”

Birth of “Bedroom Production”

The album is said to have been produced in a private setting rather than in a large studio.

As a result, the center of gravity of music production changes completely.

Studio → Personal space
Co-production → Independent generation
Playing musical instruments → Operating equipment
Composition → Programmatic generation

flowchart TD A[traditional composition] B[Mainly performance] C[studio production] D[bedroom production] E[mechanical generation] F[inhuman structure] A --> B --> C D --> E --> F

Collapse of music’s “authorship”

The importance of this work lies in the fact that it makes it unclear who made it.

Intent is not clear
Structure exists but not explained
Emotions exist but are not verbalized

As a result, listeners experience the music as ““drifting” rather than ““interpreting” it.

The intersection of techno and ambient

This work has a techno-like structure, but also has an ambient diffuseness.

Rhythm structure of dance music
Spatiality of environmental music
Emergence of IDM complexity

These coexist in an undifferentiated state.

“Anonymization of emotions”

Aphex Twin’s music is often described as emotional, but that emotion is not attributed to a specific subject.

Neither joy nor sadness
neither human nor mechanical
Exists as a state rather than a meaning

Why is it ranked 20th?

"”Selected Ambient Works 85–92” is a work that changes music from ““something that is created” to ““something that occurs.’’

However, at this stage, the music has not yet been established as a “work.”

In the top works, the music goes even further, completely transcending the boundaries of genre, society, and culture.

“‘Selected Ambient Works 85–92” transformed music production from individual expression to an “environmental generative process’ and presented a new prototype of electronic music. Due to its historical significance, it is ranked 20th in this ranking.”

Part 2 (Closing)

The 11th to 20th places thus far have depicted the ““core of genre collapse’’ in music history.

Jazz deconstructed into compilations (Bitches Brew)
Rock diverges into fiction and cities (The Rise and Fall of Ziggy Stardust and the Spiders from Mars / London Calling)
Hip-hop expands into collage and institution (3 Feet High and Rising / Straight Outta Compton)
Music has moved into environment, space, and generation (Blue Lines / Selected Ambient Works 85–92)

In other words, the second episode was exactly the ““process in which a genre begins to lose its meaning’‘**.

Next preview (3rd: 21st to 30th place)

In Part 3, electronic music has finally surpassed the “experimental” stage and entered the phase of being fixed into an institutional musical structure.

Club music is not just a dance culture;

Music as urban infrastructure
Algorithmic iterative structure
A new listening space called Post Club

It transforms into

3rd (21st to 30th) theme

“Institutionalization of electronic music and the birth of post-clubs”

This section covers the following albums:

*Music Has the Right to Children

Discovery *Homework *Trans-Europe Express
Computer World
Ambient 1: Music for Airports
Another Green World *Homogenic
Dummy
Endtroducing…..

Structural focus

In this episode, music is no longer a “genre.”

What appears instead is:

Rhythm as a system
Beat structure synchronized with the city
Soundscape as memory
Post-club listening space

flowchart TD A[ジャンル音楽] B[branch of electronic music] C[Maturation of club culture] D[ポストクラブ状態] E[Institutionalized acoustic environment] A --> B --> C --> D --> E