“I wanted to play a mix of grime and dubstep and U.K. funky and U.K. garage, all these niche underground genres,” she said. “I had this idea that they all made sense together with other stuff like Miami bass and Baltimore club. At the time, compared to indie dance and disco stuff, genres we were playing … sounded so much more raw and unhinged and in-your-face, much less polite and palatable, much more hyper and intense and tear-shit-off-the-walls.”
Skrillex’s music is the worst nightmare of electronic music aesthetes because he doesn’t give a shit about the carefully enforced micro-genres, cultural hierarchies, and bro/nerd distinctions that characterize producers, D.J.s, clubs, and every other facet of contemporary dance music life. It’s a sound built from electronic music’s detritus: bad synths, corny Jamaican sound and lyric references, Romantic piano melodies, chipmunk vocals, and blow-this-shirt-to-shreds action-film sound effects. But brave as such a stance might sound, Skrillex is not doing it for art. As he’s often said, he’s doing it for fun. And for that reason, Skrillex is pretty punk.
A scene too big and undisciplined to be recognized as one, New York's electronic music had a great 2011 anyway
As with so much else in this city, there is simply too damn much going on in New York to make such shorthand reliable. No one sound or act or scene predominates—and that’s probably the healthiest and most exciting thing about it, particularly this year. New York in 2011 was the site of a lot of exciting electronic-dance activity, and if some of that is simply down to the city being a magnet for creativity in general, then so be it.