7th (61st place)

Burial – Untrue

“The moment when the club was reborn as a ‘post-city’“

Released in 2007, “Untrue” does not exist as an extension of dance music.

Rather, it is ““music as memory”’ that arrived at the end of club culture”s most advanced development.

Burial”s sound doesn”t depict the excitement of the floor. What we find instead is London after dawn, rain-soaked asphalt, and the echoes of an empty city.

7th Part 1 (61st place)

Spirit of Eden

“The moment when rock became a “generated phenomenon” rather than a “performance””

Spirit of Eden, released on September 16, 1988, was one of the quietest revolutions in the history of the rock genre.

It’s not a work that produced flashy hit songs.

It did not receive high praise upon its initial release, and was not a commercial success.

However, today, many musicians and critics consider this work to be the origin of the idea of ​​post-rock.

With this work, Talk Talk reconsidered the very processes of ““writing songs,” ““playing,” and ““recording,’’ which had been the premise of rock music up until then.

Rather than being a completed blueprint, music has become a ““phenomenon’’ that gradually emerges within the space of the studio.

Transitioning from a pop band to an experimental group

In the early 1980s, Talk Talk was a synthpop band.

Hits such as “It’s My Life” and “Such a Shame” achieved worldwide success as representative works of new wave and synthesizer pop.

But the man at the center, Mark Hollis, wasn’t satisfied with the success.

What he sought was not a hit chart, but “the freedom of music itself.”

1986’s ““The Color of Spring” actively introduced acoustic instruments and improvisation, and ““Spirit of Eden” established that direction.

Despite being under contract with EMI, this work, which had almost completely abandoned commercial aspects, led to serious conflict with the record company.

But in return, one of the most original albums in rock history was born.

Recording that turned the studio into a “laboratory”

The production of ““Spirit of Eden’’ was a long session lasting about a year.

Producers Tim Friese-Greene and Mark Hollis use a production method that is completely different from the usual rock production.

The recording studio is covered with black curtains and most of the lights are turned off.

The performers did not play according to the musical score, but instead improvised based on the atmosphere of the place and each other’s reactions.

From dozens of hours of recorded material, he selects only a few moments and edits them into a single song.

In other words, in this work,

• Composition
• Performance
• improvisation
• edit
• Recording

These five processes are completely integrated.

Songs are not designed on paper, but are “discovered” little by little in the studio.

“White space” becomes music

In traditional rock, the sound played was the center of the piece.

However, in ““Spirit of Eden,’’ that idea is reversed.

silence breathing reverberation faint noise distance between instruments

All of these become the constituent elements of the work.

Especially in the opening track, ““The Rainbow,’’ almost nothing happens for several minutes.

However, precisely because there is that ““time when nothing happens’’, the slight sounds of the guitar and organ have an overwhelming presence.

Here, music changed from being an art of arranging sounds to an art of designing ““spaces where sounds are born.’’

Fusion of jazz, classical and ambient

This work incorporates various elements other than rock.

The free improvisation of jazz.

A tranquil sense of space of 20th century classics.

And this is the idea of ​​”“music as environment’’ presented by ambient music after Brian Eno.

But Talk Talk didn’t just quote them.

Everything was melted into the form of a rock band and rebuilt as a new organic musical language.

This fusion was inherited not only in later post-rock, but also in many other genres such as post-classical, slowcore, and ambient folk.

thank you. I will continue writing with the same density as Parts 1 to 6.

The starting point of the idea of ​​post-rock

The term “post-rock” became widely known after music critic Simon Reynolds proposed the concept in 1994.

However, that idea itself had already been completed by the time of ““Spirit of Eden’’.

Talk Talk didn’t deny rock music.

Rather, by expanding the rock format to its limits, they have arrived at music that cannot be explained within the traditional rock framework.

With traditional locks,

• Focus on the guitar
• Drums support the rhythm
• Vocals tell the story
• The chorus makes your emotions explode

This structure was assumed.

But in Spirit of Eden, those roles are completely dismantled.

The guitar floats like air,

The drums do not mark time, but rather emphasize silence.

The vocals also don’t exist to explain the story, but blend into the space as a single tone.

At this point, music became not just a song, but an art that allowed us to hear the sound itself.

Production philosophy that does not aim for a “completed form”

The reason this work was innovative was not that it recorded a completed performance.

In fact, the opposite is true.

Mark Hollis and Tim Friese-Greene did not aim for a ““completed performance’’ from the beginning.

Inviting many musicians to the studio,

Each performs freely.

I compiled the fragments over many months,

Leaving behind only the beautiful moments that happened by chance.

This methodology is similar to film editing.

Rather than deciding everything before shooting,

The work is discovered from among the materials.

This idea was later

• Sigur Rós
• Bark Psychosis *Mogwai
• Godspeed You! Black Emperor

This style has been passed down to many post-rock works.

Furthermore, in the 21st century,

It also became a common production method in electronica, ambient, and post-classical music.

“Silence” becomes the greatest dynamism

Rock music has long competed in terms of volume.

faster,

more intensely,

Bigger.

However, ““Spirit of Eden’’ completely overturns that sense of values.

The smallest sound is

creates the most tension.

A piano that plays only one note.

A trumpet sounds in the distance.

A faint brush drum.

Each one of them gives off an overwhelming presence in silence.

This isn’t just quiet music.

This was a new compositional philosophy, in which even the ““time when no sound is heard’’ was designed as part of the piece.

This idea deeply permeates not only later ambient and postclassical music, but also modern film music.

Rock from a “finished product” to a “living entity”

Before Spirit of Eden, many albums existed as finished products.

compose,

play,

record,

Complete.

However, in this work, the music is not a fixed finished product.

The moment it was recorded,

Even at the moment of editing,

The moment you are heard,

It exists as a “living entity” that is constantly changing.

This idea also applies to interactive art, installations, and even generative music in the AI ​​era.

In other words, “Spirit of Eden” was released in 1988,

He was anticipating the modern idea of ​​art that ““a work is not something that is completed, but something that continues to be created.’’

Why is it ranked 61st?

"”Spirit of Eden’’ is a work that does not deconstruct rock, but rather pushes its possibilities to the limit.

With this work, rock evolved from a ““collection of songs” to ““a comprehensive art that includes space, time, and silence.”

His influence extends beyond post-rock to ambient, post-classical, film music, and even contemporary sound art.

In this ranking, works that created and institutionalized the genre itself were ranked 61st, and the idea of ​​”“generated music’’ presented by this work has left an extremely large footprint on music production since the 21st century.

“‘Spirit of Eden” changed rock from a “work to be performed” to a “phenomenon that continues to be generated.’As the origin of the idea of ​​post-rock, it is ranked 61st in this ranking due to its historical significance.”

thank you. Now, as Part 2 of Part 7, I will be writing No. 62 with the same final quality as before.

7th Part 2 (62nd place)

Loveless

“The moment the guitar transformed into the space itself”

Loveless, released on November 4, 1991, is a work that rewrote the concept of the guitar as an instrument in rock history.

In rock, the guitar has long been an instrument for playing melodies, supporting chords, and sometimes showing off technique.

However, My Bloody Valentine completely overturned that conventional wisdom.

The guitar is not the instrument being played here.

It becomes a device that generates the acoustic space itself.

After ““Loveless,” ““guitar sound” came to mean not just a phrase, but the space and texture itself.

The definitive edition of the birth of shoegaze

In the late 1980s in England, a new form of guitar expression was being sought after post-punk.

Among them, My Bloody Valentine arrived at the idea of ​​integrating noise and melody, rather than making them conflict with each other.

The word “shoegaze,” which is used along with the band”s name, was born from the band”s constant gaze at the effect pedals at their feet during live performances.

But that’s not the point.

What they were staring at was not the effector,

It was a way to treat the guitar as a ““space” rather than a ““sound”.

Here, rock acquires a new sonic language.

Acoustic revolution by Kevin Shields

Kevin Shields, the central figure on this album, completely rejects conventional guitar recording.

His most distinctive feature is his playing style, which he called the “Glide Guitar.”

By playing while constantly moving the tremolo arm,

The pitch keeps fluctuating.

Code is not fixed,

The sound loses its outline,

The entire space slowly transforms.

moreover,

• Reverb
• Reverse reverb *Delay
• chorus
• Precise EQ adjustment

By layering multiple layers, the guitar has transformed into a gigantic acoustic wall that no longer feels like a single instrument.

This isn’t just a lot of effects.

The guitar itself has been redesigned.

Two years in the making, the studio itself becomes an instrument

The production of ““Loveless’’ took about two years and took place in 19 studios.

The production costs were unprecedented at the time, and it is said to have shaken the management of Creation Records, the label they belonged to.

However, that huge amount of time was not wasted.

Kevin Shields doesn’t use the studio as a place to record.

One giant instrument

It was treated as such.

Record countless takes,

Adjust the microphone position in centimeters,

While carefully rearranging amplifiers and effects,

Pursuing the ideal acoustics.

Here, more than just playing technique,

Recording itself is a creative act.

Fusion of noise and melody

Until then, noise was something that destroyed melody.

However, in ““Loveless,’’ that relationship is reversed.

From the intense distortion,

A faint melody emerges.

In the midst of the roar,

The delicate vocals blend in.

Violence and beauty

They coexist without canceling each other out.

This acoustic balance is

It had a major influence not only on later dream pop, post-rock, and indie rock, but also on electronica and ambient music.

“Tone” becomes a composition

Before Loveless, composing meant writing melodies and chords.

But Kevin Shields

He turned the tone itself into an object of composition.

Although the melody is simple,

If the tone changes, the overall impression of the piece changes dramatically.

This idea is

This has become commonplace in music production since the 21st century.

electronica,

ambient,

post-classical,

Furthermore, in film music,

"”What kind of sound you make” has become as important as ““what you play.”

"”Loveless’’ is a work that seriously brings this idea into the world of rock.

Influence on guitar music around the world

Although this work was not a commercial success when it was first released, it has since been reevaluated to a great extent.

Radiohead, Sigur Rós, Slowdive, Mogwai, and many other artists inherited this sonic philosophy.

Furthermore, following the shoegaze revival, Loveless continues to be referenced as a reference point in the modern indie scene.

The guitar is no longer just an instrument for playing riffs and solos.

It has become a medium that depicts space, encompasses emotions, and transforms time itself.

Why is it ranked 62nd?

"”Loveless’’ is a historical work that fundamentally changed the role of the guitar as an instrument.

Its influence extends beyond shoegaze to include post-rock, dream pop, electronica, and even modern sound design in general.

In this ranking, works that created and institutionalized genres themselves were ranked 62nd, as they were ranked higher, but the idea presented by this work that ““the tone itself becomes a composition’’ greatly changed music production from the 1990s onwards.

“‘Loveless’ transforms the guitar from an instrument to be played to a device that generates space itself. Due to its sonic revolution, it ranks 62nd in this ranking.”

thank you. So let’s continue with the same format and density.

7th Part 3 (63rd place)

Tri Repetae

“The moment when electronic music began to listen to “structure” instead of “rhythm””

Tri Repetae, released on November 6, 1995, is a monumental work that shows the establishment of electronic music as an art independent of club music.

From the 1980s to the early 1990s, techno and house developed around the dance floor.

Beats were meant to move the body, and repetition was a device to create euphoria.

However, Autechre overturned that very premise.

The important thing here is not dancing.

**What kind of logic is used to construct the sound itself? **

"”Tri Repetae’’ is a work that expands electronic music from an art of the body to an art of thought.

Achievement of Artificial Intelligence series

In the early 1990s, Warp Records released the Artificial Intelligence series, proposing a new concept of ““home techno’’.

Electronic music is not just consumed in clubs.

Electronic music to help you concentrate and listen.

Autechre was the most thorough development of that idea.

Early releases like ““Incunabula” still had a strong influence of Detroit techno, but by ““Tri Repetae,” any trace of that influence has disappeared.

Beats are not for dancing;

It exists to make us perceive structure.

Rhythm becomes “mutation” rather than “repetition”

The biggest element that characterizes “Tri Repetae” is

It is a subtle change that never ends.

At first glance, it sounds like the same phrase is being repeated.

But in reality,

tone

timing

Localization

texture

filter

All of that continues to change little by little.

Changes are extremely small.

However, by accumulating

The listener’s sense of time itself is unconsciously rewritten.

This can be said to be a transplant of the ideas of minimal music such as Steve Reich to electronic music, but Autechre added computer-like precision.

Repetition is not stopping.

Repetition is endless mutation.

Drum machine’s “separation from humans”

The rhythm programming in this work is also extremely unique.

In general techno,

The kick supports the groove,

The hi-hat creates propulsion,

The snare adds an accent.

However, in “Tri Repetae”,

The division of roles itself becomes unclear.

The kick is gone;

The snare deforms in the middle,

The entire rhythm transforms into a living thing.

in spite of,

The whole work never collapses.

There is no human performance feel here,

A new order exists that only computers can realize.

The sound itself becomes architecture

Autechre doesn’t write songs centered around melody.

Stacking the tones themselves,

It forms a huge three-dimensional structure.

The bass becomes the foundation;

Noise becomes a wall,

The metallic sound becomes the framework.

Music doesn’t just progress in time.

It is built within space.

This way of thinking led directly to later glitch, microsound, and experimental electronica.

A work that updates the concept of IDM

The term “IDM (Intelligent Dance Music)” has often been the subject of debate.

However, what ““Tri Repetae” shows is not about being ““intellectual.”

it is,

It was the fact that electronic music can be successful even if it is not limited to the function of dance.

Here electronic music is

At the club,

Even on the radio,

Not even the pop charts

Reaching the same horizon as museums and contemporary music.

For the first time, electronic sound came to be evaluated as ““abstract art.’’

Why is it ranked 63rd?

"”Tri Repetae’’ is a historical work that evolved electronic music from rhythm-based club music to an art that appreciates the structure itself.

His influence extends beyond IDM to glitch, microsound, experimental music, and even modern algorithmic composition.

This ranking ranks 63rd because it ranks the works that birthed and institutionalized the electronic music genre itself, but the idea of ​​”“listening to the structure’’ presented by this work greatly expanded the possibilities of subsequent electronic music.

“‘Tri Repetae’ transforms electronic music from rhythms for the body to structures for thought. Its innovative sound design places it at number 63 in this ranking.”

7th Part 4 (64th place)

Dubnobasswithmyheadman

“The moment club music began to tell a story”

Dubnobasswithmyheadman, released on January 24, 1994, is a historical work that shows that club music has matured from being music only for the dance floor to an art form that can be completed as a single album.

From the 1980s to the early 1990s, house and techno developed mainly around 12-inch singles.

Music for DJs to connect.

Music for functioning on the floor.

There, the role of each song was emphasized, and the idea of ​​depicting a single worldview throughout the album was by no means mainstream.

However, Underworld overturns that common sense.

Rather than each song on Dubnobasswithmyheadman being a stand-alone dance track, the entire album is designed like a full-length film.

It was here that club music evolved from ““music for dancing” to ““music for immersion.”

Birth of the second generation Underworld

Underworld was a new wave band in the 1980s.

However, he was not blessed with commercial success and hit a dead end.

The turning point was the addition of DJ Darren Emerson.

Fragmentary words of Karl Hyde.

Precision programming by Rick Smith.

And the club culture that Emerson brought with him.

By combining these three, Underworld will be reborn into a completely new music.

Dubnobasswithmyheadman was the first album under this new regime, and it set the tone for future techno and progressive house.

Not “lyrics” but “word fragments”

Karl Hyde’s vocals are definitely different from traditional rock.

The story is not told in order.

The sights I saw and heard in the city.

advertisement.

conversation.

subway.

memory.

These fragments are repeated, gradually changing their meaning as they accumulate.

Rather than understanding the lyrics, the listener experiences the city itself.

Here, the vocals do not carry the melody, but instead become acoustic materials that reflect the ““urban consciousness.’’

A new sense of time with a long structure

What characterizes this work is its long composition, which is unusual for club music.

The songs don’t develop rapidly.

Slowly changing the landscape by making small changes.

The beat disappears.

A synth pops up.

The groove is back again.

The flow of time is more like walking around a city than dancing at a club.

Repetition is not boring.

The repetition itself becomes a drama.

Turning the club into a “listening culture”

Prior to this work, club music was primarily about functioning on-site.

But Dubnobasswithmyheadman was hailed as an album worth listening to from start to finish at home.

This idea is

Orbital

The Chemical Brothers

Leftfield

Furthermore, it will be passed down to electronic music as a whole, which is becoming borderless.

The album format once again became the central expression of electronic music.

Why is it ranked 64th?

"”Dubnobasswithmyheadman’’ is a definitive work that elevated club music from mere functional music to a work of art that can be told on an album-by-album basis.

Its influence extends not only to progressive house, techno, and electronica, but also to modern dance music as a whole.

This ranking ranked 64th because works that updated the very structure of electronic music were ranked high, but the concept of the “club album” presented by this work became an important indicator of electronic music for over 30 years afterwards.

“‘Dubnobasswithmyheadman’ liberated club music from 12-inch culture and developed it into an art form called albums. Due to this historical shift, we rank it at number 64 in this ranking.”

7th Part 5 (65th place)

Timeless

“The moment when drum and bass turned “urban time” into music”

Timeless, released on August 7, 1995, is a historical work that determined the evolution from jungle to drum and bass.

In England in the early 1990s, with the explosive spread of rave culture, jungle music using high-speed breakbeats was rapidly developing.

However, many works at the time were centered around singles and were intended to be played by DJs, and there were still very few works that presented ideas as a single album.

Goldie fundamentally changes this situation.

Timeless retains the raw energy of jungle while incorporating jazz, ambient, and classical compositional sensibilities, elevating drum”n”bass to album art.

Rhythm here is not just a beat for dancing.

It has become the very sense of time for people living in cities.

From jungle to drum and bass

Jungle was born out of London’s urban culture, a fusion of hip-hop, reggae, dub and breakbeat.

Amen Break is carved at high speed.

Heavy sub-base.

Fragmented sample.

The chaos of the multicultural city of London was etched into it.

But Goldie didn’t stop at club music.

He gave jungle a sense of story and emotion, and elevated it to ““music for listening.’’

A long suite called “Timeless”

The album’s title track, ““Timeless,’’ is an epic work that lasts approximately 21 minutes.

Starting with quiet ambient music,

The strings spread,

breakbeat appears,

Eventually, you will reach overwhelming energy.

Its structure is completely different from conventional club tracks.

It’s not just repetition.

It is designed as a symphony, with a beginning, development, and conclusion.

At this point, drum”n”bass transformed from music that produced ““instantaneous excitement” to ““music that designs time itself.”

Breakbeat is not “collapse” but “reconstruction”

"”Timeless’’ is symbolized by its intricately deconstructed breakbeat.

Although the drum is carved at high speed,

Don’t fall into mere confusion.

The finely chopped rhythm

We will create a new order.

Here,

beat = repetition

rather than

Beat = Time that keeps changing

A new concept has been established.

New horizons for UK electronic music

"”Timeless’’ had a decisive influence on subsequent UK electronic music.

Roni Size,

LTJ Bukem,

High contrast,

Even down to the post-dubstep generation.

Drum and bass is more than just a fast beat.

This developed into a culture of building a world view through albums.

His grand sense of composition also spread to film music and game music, and became a model for ““music that depicts the city.’’

Why is it ranked 65th?

"”Timeless”’ is a historical work that evolved jungle into drum”n’bass and redefined club music as album art.

His influence extends not only to UK electronic music as a whole, but also to contemporary bass music, film music, and sound design.

This ranking ranks 65th because it ranks works that birthed and institutionalized electronic music itself, but the idea of ​​”“musicizing urban time’’ that this work showed was an important turning point in the subsequent history of electronic music.

“‘Timeless” sublimates high-speed breakbeats into the time structure of the city, and develops drum”n’bass into album art. Due to its historical significance, it is ranked 65th in this ranking.”

7th Part 6 (66th place)

Interstellar Fugitives

“The moment when techno became an “anonymous political device””

Interstellar Fugitives, released in 1996, is a historical work that shows that Detroit techno has matured from being just club music to an idea that critiques urban society.

Born in the 1980s, Detroit techno was shaped by Juan Atkins, Derrick May, and Kevin Saunderson as the music of a futuristic city.

However, in the 1990s, the picture of the future was not necessarily bright.

Decline of the automobile industry.

unemployment.

Population outflow.

Urban devastation.

Underground Resistance faced this reality head-on, advocating the philosophy that ““techno is resistance to the city.’’

The work that most clearly crystallizes this philosophy is ““Interstellar Fugitives.’’

Techno is not entertainment here.

It has become a political medium for deciphering the city and envisioning the future.

A thought group called Underground Resistance

Underground Resistance is different from your average band or unit.

They positioned themselves as an ““organization’’ and put their ideas, rather than individuals, at the forefront.

The members wear military uniforms and masks, emphasizing the existence of the ““UR’’ community rather than their faces or individual names.

That anonymity is not just a performance.

Refusal to star system.

Resistance to commercialism.

Independence of black music.

This was a strategy to maintain this idea.

The important thing about music is not who makes it, but what it conveys.

Sound is a “strategic map of the city”

The songs on Interstellar Fugitives are based on the hard beats typical of Detroit techno and sci-fi synthesizers.

However, the sound is not one of optimism for the future.

A rhythm full of tension.

Inorganic synth.

Noise that appears intermittently.

They are reminiscent of factory sites, expressways, and deserted urban spaces.

The beat here is not for dancing;

It functions as a language for redesigning the city itself.

A new community created by anonymity

Pop music has long evolved around the personalities of its stars.

But Underground Resistance completely reverses that idea.

I can’t see your face.

Personal names are also not important.

Only the works exist.

As a result, listeners do not worship a particular artist, but empathize with the idea itself.

This anonymity had a great influence on later electronic music,

It has been passed down to anonymous projects, masked artists, and collectives of the internet age.

Techno will no longer be the music that depicts the future

Juan Atkins’ vision of a futuristic city contained hope for technology.

But Underground Resistance takes that future a step further.

What they drew was

Management society.

Surveillance.

information.

capital.

And it is the will of the individual who resists it.

Techno is not music that celebrates the future.

It became music that allowed us to reconsider the future.

This idea deeply influenced later Berlin techno, IDM, industrial techno, and even modern experimental electronic music.

Why is it ranked 66th?

"”Interstellar Fugitives’’ is a definitive work that elevated Detroit techno from mere dance music to an ideology that critiques the city and society.

His influence extends beyond techno to IDM, electro, industrial, and contemporary art.

This ranking ranked 66th because it ranks works that created and institutionalized the techno genre itself, but the ideas of ““anonymity,” ““community,” and ““urban criticism’’ that this work showed greatly shaped the direction of subsequent electronic music culture.

“‘Interstellar Fugitives’ transformed techno from club music to an anonymous political device that critiqued the city. Its ideological innovation places it at number 66 in this ranking.”

7th Part8 (67th place)

The Orb’s Adventures Beyond the Ultraworld

“The moment club music became the environment itself”

The Orb’s Adventures Beyond the Ultraworld, released in 1991, was the first historic album to truly fuse club culture and ambient music.

At the end of the 1980s, rave culture was rapidly expanding in Britain following the Second Summer of Love.

A club where you can dance all night long.

Huge sound system.

A body that continues to be excited.

However, there was another time in the frenzy.

Time to rest in a corner of the club.

Before dawn, the time when consciousness slowly returns to reality.

The Orb was the first to give music to that ““time without dancing.’’

At this point, ambient music took a step forward from the quiet environmental music that Brian Eno proposed, and changed to environmental music that envelopes the urban space itself.

Fusion of ambient and rave culture

Alex Paterson originally worked as a club DJ in London.

He’s not just passionate about the floor;

He was also deeply interested in the atmosphere flowing before and after the scene.

In between DJ sets,

bird sounds,

radio broadcast,

spacecraft communications,

nature sounds,

Overlay TV audio.

This experiment creates a new sense of time that did not exist in conventional dance music.

Music isn’t just for excitement.

It has become a media for designing spaces.

“Acoustic collage” by sampling

In “The Orb’s Adventures Beyond the Ultraworld”,

Countless samples are used.

environmental sounds.

Movie lines.

Space exploration audio.

radio.

Dub.

Reggae.

Electronic sound.

They are not designed to emphasize rhythm like hip-hop, but

Edited to build a huge sonic landscape.

Sampling here is not quoting.

It has turned into a technique for editing the world itself.

Completion of “electronic music that can be listened to for a long time”

Many of the songs on the album are over 10 minutes long.

But length is not the goal.

The important thing is that

It is about changing the very sense of time passing.

Small changes accumulate little by little,

Before you know it, you’ve arrived at a completely different landscape.

This idea was later used in ambient techno,

down tempo,

chill out,

It has also been passed down to modern lo-fi hip-hop.

Birth of “listening club music”

Club music before The Orb was

Functionality for dancing was the top priority.

However, in this work,

club music,

Even at home,

Even with headphones,

It also works in museums.

In other words, electronic music

Freed from the club,

It spread to the environment itself.

This philosophy is based on Boards of Canada,

Biosphere,

Gas,

The Field etc.

It is directly inherited by 21st century ambient music.

Why is it ranked 67th?

"”The Orb’s Adventures Beyond the Ultraworld” is a work that fuses ambient and club music and establishes a new concept of ““electronic music that designs spaces.”

Its influences extend to ambient house, downtempo, chillout, electronica, and even contemporary sound installations.

In this ranking, we placed ““Ambient 1: Music for Airports” (26th place), which presented the idea of ​​ambient music itself, and ““Selected Ambient Works 85–92” (20th place), which further promoted the environmentalization of electronic music, so we placed it in 67th place, but this work’s achievement in ““changing the club space into ambient music’’ is extremely significant.

“‘The Orb”s Adventures Beyond the Ultraworld’ combines ambient music with club culture and develops electronic music into an “art of designing spaces’. Due to its historical significance, it is ranked 67th in this ranking.”

7th Part9 (68th place)

Orbital 2 (Brown Album)

“The moment when techno acquired ‘human emotions’”

Orbital 2 (commonly known as Brown Album), released on May 24, 1993, is a monumental work that breaks away from the stereotype that techno is an inorganic dance music and completes it as an album imbued with emotions and stories.

In the late 1980s and early 1990s, house and techno were rapidly gaining popularity in the UK rave scene. However, many of the songs were functional tracks intended to be mixed by a DJ, and there were still few works that built a single worldview throughout the album.

Orbital, created by brothers Phil and Paul Hartnoll, changes that in a big way.

"”Orbital 2” weaves lyrical melodies and detailed developments into repetitive beats, deepening techno as ““music for listening.”

Here, techno evolved into an art that moves not only the body but also emotions and memories.

Electronic music after rave

With the Second Summer of Love in 1988, rave culture became a social phenomenon in the UK.

However, this enthusiasm gradually became institutionalized, and a new direction was required for electronic music.

Orbital brings tranquility and lyricism to the club without sacrificing its energy.

Even in the midst of intense beats,

beautiful chord progression,

Transparent synthesizer,

The delicate tonal changes are alive and well.

It was here that techno began to move from function to expression.

New possibilities of live electronics

Part of what made Orbital so innovative was the way they thought about live performance.

At the time, electronic music was centered around DJ play, and there were still only a few examples of artists themselves reconstructing songs in real time.

Orbital utilizes sequencers and synthesizers to establish a style that changes their songs for each live performance.

Performance is not a fixed reproduction.

This is a process that is generated on the spot.

This idea is later

• The Chemical Brothers
• Underworld
• Richie Hawtin *Four Tet

It has been passed down to many types of live electronics.

A new lyricism of electronic music called “Halcyon + On + On”

The album”s signature song, “Halcyon + On + On,” best exemplifies Orbital”s aesthetic.

A gently repeating synthesizer.

A soft pulsating beat.

An acoustic space where sample voices drift like a dream.

There are no dramatic developments here.

However, as small changes accumulate, the listener forgets the flow of time itself.

Techno is not music that excludes emotion.

Music that quietly sustains emotions.

A bridge between “dancing music” and “listening music”

The historical significance of ““Orbital 2’’ lies in the fact that it erased the boundaries between club music and listening music.

while functioning on the dance floor.

It works even if you listen to it at home.

The entire album flows as a story,

Although each song is an independent track, they resonate as part of a larger structure.

This idea became a standard for electronic music albums from the 1990s onwards.

Why is it ranked 68th?

"”Orbital 2’’ is a historical work that developed techno into an emotionally rich album expression and opened up a new performance culture called live electronics.

Its influence extends to progressive house, trance, IDM, live techno, and even modern festival culture.

In this ranking, works that changed the structure of electronic music itself were ranked 68th, but the idea that ““lyrism and album art can exist in techno’’, which this work showed, was an important turning point in the history of electronic music.

“‘Orbital 2’ evolved techno from functional club music to album art with emotion and narrative. Its historical significance ranks it at number 68 in this ranking.”

7th Part 10 (69th place)

The White Room

“The moment when rave culture reached “popular culture”

Released in March 1991, The White Room is a historical work that symbolizes the penetration of underground rave culture into British society as a whole.

After 1988’s “Second Summer of Love,” raves rapidly expanded into an informal culture held all night in warehouses and outdoors.

However, most of these were on-site experiences centered around DJ culture, and were not fully translated into the form of an ““album’’ that could be shared at home by ordinary listeners.

The KLF breaks down this barrier.

"”The White Room’’ boldly fuses house, ambient, rock, pop, and hip-hop sampling to create a rave pop album.

Here, club culture expanded from being limited to a few communities to a global pop culture.

“Anti-music industry” called The KLF

Bill Drummond and Jimmy Cauty’s The KLF was more than just a musical unit.

They treated the music industry itself as a giant piece of concept art.

Anonymity.

Massive sampling.

Excessive self-mythology.

In 1994, he even performed a shocking performance in which he incinerated 1 million pounds.

For them, works are not just records.

It was a ““project’’ that included distribution, media, and even capitalism.

This idea has had a great influence on later art collectives and anonymous projects.

Sampling from “quotation” to “world building”

In “The White Room,” a variety of sound sources coexist seamlessly.

rock.

House.

Ambient.

movie.

tv set.

radio.

These are not just collages.

It is a material for editing different cultures and creating a new world.

Here, sampling evolved from musical quotation to a technique for editing culture itself.

What “3 A.M. Eternal” changed

The album’s signature song, ““3 A.M. Eternal,’’ is a symbolic work that brought rave music to the global hit charts.

Heavy beat.

Gospel chorus.

rock dynamism.

The song’s structure, which could work as a pop song while still retaining the excitement of a club, was unprecedented.

This success paved the way for electronic music to move from underground culture into the mainstream.

Electronic music is no longer a culture limited to “on-site”

Before ““The White Room,’’ rave was a culture based on being present.

However, this work solidified that enthusiasm in the form of an album.

Electronic music leaves the clubs,

At home,

on the radio,

on TV,

It becomes a culture shared all over the world.

This trend would later lead to the worldwide success of bands such as The Chemical Brothers, Fatboy Slim, The Prodigy, and Daft Punk.

Why is it ranked 69th?

The White Room is a landmark work that elevated rave culture from the underground to popular culture.

Its influence extends not only to house and techno, but also to big beat, electronica, sampling culture, and even modern live culture.

This ranking ranked 69th because it ranks works that created the structure of rave and electronic music themselves, but the role this work demonstrated in ““connecting club culture to pop culture’’ was an important turning point in the history of music from the 1990s onwards.

“‘The White Room’ took rave culture out of the clubs and propelled electronic music into global pop culture. Due to its historical significance, we rank it at number 69 in this ranking.”

70th place

Leftism

“The moment club music became a comprehensive art”

Released on January 30, 1995, Leftism is a historical work that shows that club music has matured into an expression that integrates diverse musical cultures, rather than a single genre.

Beyond house and techno, Leftfield has absorbed dub, reggae, breakbeat, ambient, and even rock dynamics, organically combining them into an album.

At this point, club music evolved from being a functional tool for DJs to a comprehensive art form that can be completed in units of albums.

Sound design that crosses genres

Neil Barnes and Paul Daley’s Leftfield have been active on the club scene since the early 1990s.

But their goal wasn’t to follow popular genres.

In “Leftism”,

• House four-on-one
• Dub spatial processing
• The driving force of breakbeats
• Ambient floating feeling
• Reggae bass culture

However, they naturally coexist within a single work.

Each element is not a quotation, but is reconstructed as a new grammar.

Bass designs the “space”

The bass design is essential when talking about the innovation of this product.

The bass is not just a rhythm section.

It functions like a building that supports the entire space, and beats and synthesizers are placed three-dimensionally on top of it.

When experienced through a club’s sound system, the sound vibrates not only your body, but the space itself.

This idea had a major influence on later UK bass music and dubstep.

Club music as an album

Leftism doesn’t just function on the dance floor.

Each song is loosely connected to form a single sonic world, allowing listeners to enjoy the immersive feeling even when they are not in the club.

It was here that club music matured from music for the scene to album art to be enjoyed at home.

This compositional philosophy would be inherited in later electronica and post-club works.

Why is it ranked 70th?

Leftism is a seminal work that brought together house, techno, dub, and breakbeat, and elevated club music to album art.

Its influence extends to 21st century electronic music, including The Chemical Brothers, Burial, Four Tet, and Jon Hopkins.

In this ranking, we ranked 70th because we place works that created and institutionalized club culture itself at the top, but the idea of ​​”“electronic music that transcends genres and integrates’’ that this work shows is an important foundation of modern club music.

”“‘Leftism’ redefined club music as a fusion of multiple genres and matured into the comprehensive art of an album. Due to its historical significance, it is ranked 70th in this ranking.’‘