Riley Loula drops the bomb on, err, drops.
There’s seems to be a new phenomenon at (increasingly popular) electronic music events lately, one that I saw elevated amongst the 18-and-over crowd at the Zed’s Dead show this past October.
It is the pigeon-holed obsession with “The Drop.”
Before anyone denounces me in the name of Tiesto, allow me to elaborate.
I love drops. They’re the closest thing electronic music has to offer to “The Breakdown” that I worshipped growing up as a metal head. Heavy metal and electronic music aren’t from entirely different musical realms. They have similarities. They overlap. Just look at dubstep or drum & bass to bridge the (loose) connection.
I recently read an article featuring 12th Planet in which he went on record divulging metal as an influence in his music.
But I digress. I do love drops. What I don’t love however, is the crowd’s reliance on them at a show to express excitement about the music and energy for the event.
I took in a great set from opening DJ, Branchez, at the Zed’s Dead show, but didn’t notice anyone else sharing quite the sentiment. Sure people were moving, but I didn’t see the cohesive energy I like to share on the dance floor.
Perhaps it was the lack in numbers on the floor. But then DJ Green Lantern came on.
I am in no way dismissing Green Lantern’s talent, as the guy’s very respectable in his own right, but as soon as he played his first typical, lengthy build-up to casually-mainstream drop, I saw more elation from every person, boy or girl, that I had throughout Branchez interestingly-progressive set.
I watched in concern as these three girls went from muted banter within their circle to this full-body-ecstasy-shaking, sky-high-screaming routine. Sad Riley is sad.
To me, it seems as though people are trading in musical progression and experimentation for this unquenchable thirst for the beat to reach a climax only to be dropped on your face like one of Aoki’s cakes. (Woop woop got a rhyme in there.)
In a world where we actually have something like this to literally illustrate the experimental saturation of sound-ideas relevant to drops (big room specifically), I hope we can all take a step back and evaluate what we’re here for: the music.
I challenge you to seek out progressive artwork such as Mat Zo’s Damage Control or BeatsAntique’s A Thousand Face’s - Act 1. Question the kid who says he doesn’t like trap “because there aren’t any good drops” (yes this has happened to me). Don’t stop expecting more than just the mainstream from our DJs who are being forced more and more into the mainstream. Stay true to the underground roots, and explore the unexplored. We’re all here for that reason, anyways. Right?