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Death 'n' roll

Mon, 01 Jan 0001 00:00:00 +0000

History#

While the “death ’n’ roll” tag was first associated with Swedish death metal band Entombed, Daniel Ekeroth associates the style with a previous group called Furbowl. After Entombed released Wolverine Blues, the band became associated with what the music press dubbed as “death ’n’ roll”, a label which has followed Entombed’s career ever since. In the years following the album’s release, the sound was embraced by Dismember on Massive Killing Capacity (1995), Carcass on Swansong (1996) and Six Feet Under on Warpath (1997). Similar to Entombed, Dutch band Gorefest also transitioned from its origins in death metal to incorporate a death ’n’ roll style. Elements of this approach were first evident on the band’s 1994 album Erase, but it was more fully realized on the subsequent release, Soul Survivor (1996), which also demonstrated significant influence from classic rock. Proof of that influence was the club tour organized by the band that same year, where Gorefest played songs by AC/DC, Black Sabbath and Deep Purple. Gorefest broke up after their last 1990s album, Chapter 13, which continued the trend started in Soul Survivor, Two of its members currently play in Live & Dangerous, a Thin Lizzy tribute band from the Netherlands. When confronted with the “death ’n’ roll” label in interviews, the acts that the label is attached to react with skepticism. Entombed’s LG Petrov stated “We see it as Entombed music, if people see that as death ’n’ roll so be it. We just laugh, death ’n’ roll, why not? When we write songs, we aren’t thinking it has to be a particular style.”

Death metal

Mon, 01 Jan 0001 00:00:00 +0000

Emergence and early history (early to mid–1980s)#

English extreme metal band Venom, from Newcastle, crystallized the elements of what later became known as thrash metal, death metal and black metal, with their first two albums Welcome to Hell and Black Metal, released in late 1981 and 1982, respectively. Their dark, blistering sound, harsh vocals, and macabre, proudly Satanic imagery proved a major inspiration for extreme metal bands. Another highly influential band, Slayer, formed in 1981. Although the band was a thrash metal act, Slayer’s music was more violent than their thrash contemporaries Metallica, Megadeth, and Anthrax. Their breakneck speed and instrumental prowess combined with lyrics about death, violence, war, and Satanism won Slayer a cult following. According to Mike McPadden, Hell Awaits, Slayer’s second album, “largely invent ed much of the sound and fury that would evolve into death metal.” According to AllMusic, their third album Reign in Blood inspired the entire death metal genre. It had a big impact on genre leaders such as Death, Obituary, and Morbid Angel. While attributed as having a Slayer influence, current and former members of the band had actually cited Venom and Motörhead, as well as early work by Exodus, as the main influences on their sound. Although the group had released only two studio albums and an EP in their formative years, they have been described by music journalists and musicians as either being “monumental” in developing the death metal style, or as being the first death metal band. Earache Records noted that “the likes of Trey Azagthoth and Morbid Angel based what they were doing in their formative years on the Possessed blueprint laid down on the legendary Seven Churches recording. Possessed arguably did more to further the cause of ‘Death Metal’ than any of the early acts on the scene back in the mid-late 80’s.” During the same period as the dawn of Possessed, a second influential metal band was formed in Orlando, Florida. Originally called Mantas, Death was formed in 1983 by Chuck Schuldiner, Kam Lee, and Rick Rozz. Inspired by the Brandon, Florida act Nasty Savage, they took the sound of Nasty Savage and deepened it. In 1984, they released their first demo entitled Death by Metal, followed by several more. The tapes circulated through the tape trader world, quickly establishing the band’s name. With Death guitarist Schuldiner adopting vocal duties, the band made a major impact in the emerging Florida death metal scene. The fast minor-key riffs and solos were complemented with fast drumming, creating a style that would catch on in tape trading circles. Schuldiner has been credited by AllMusic’s Eduardo Rivadavia for being widely recognized as the “Father of Death Metal”. Death’s 1987 debut release, Scream Bloody Gore, has been described by About.com’s Chad Bowar as being the “evolution from thrash metal to death metal”, and “the first true death metal record” by the San Francisco Chronicle. In an Interview Jeff Becerra talked about the discussions of being the creator of the genre, saying that Schuldiner cited Possessed as a massive influence, and Death were even called “Possessed clones” early on. Along with Possessed and Death, other pioneers of death metal in the United States include Macabre, Master, Massacre, Immolation, Cannibal Corpse, Obituary, and Post Mortem.

Death-doom

Mon, 01 Jan 0001 00:00:00 +0000

History#

The first signs of the death/doom genre originated in the mid-1980s when early progenitors like Dream Death began to mix traditional doom metal with the sounds of the nascent death metal scene. Early records in the 1990s by such bands as Autopsy, Winter, Paradise Lost, My Dying Bride and Anathema combined the doom sound of mid-1980s Celtic Frost and Candlemass with growling vocals, female vocals, keyboards and, in the case of My Dying Bride, violins. The influence of these bands has been acknowledged by the likes of gothic metal bands Within Temptation, Lacuna Coil, The Gathering, Celestial Season and Saturnus. The tag of death/doom seemed to become less popular towards the end of the decade as many of the scene progenitors abandoned their early sound to embrace a more accessible or palatable direction. It is played at a very slow tempo, and places an emphasis on evoking a sense of emptiness and despair. Typically, electric guitars are heavily distorted and dark ambient aspects such as keyboards or synthesizers are often used to create a “dreamlike” atmosphere. Vocals consist of mournful chants or growls and are often in the background. Funeral doom was pioneered by Mournful Congregation (Australia), Esoteric (United Kingdom), Evoken (United States), Funeral (Norway), Thergothon (Finland) and Skepticism (Finland).

Deathcore

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

A fusion genre, deathcore melds elements of metalcore, hardcore and death metal. It is usually very fast and focuses on intensity. Deathcore typically combines deep ‘roaring’ and high ‘screaming’ vocals, down-tuned guitars, simplified death metal riffs, tremolo picking, double bass drumming and blast beat drumming. It is defined by its slower intense sections called breakdowns, which are also a key trait of metalcore. Vocals in deathcore are typically a mixture of deep roaring vocals similar to death growls, and higher-pitched screaming, as well as a style known as “pig squeals” or “pig squealing”. Sung vocals are rare, but they have been used by a few bands such as All Shall Perish (in the song “Awaken the Dreamers”) and Oceano (in the song “Incisions”). Lyrics in deathcore tend to be personal, angry and violent, often deal with male frustrations, and can include misogynistic language. In terms of fashion, deathcore is associated with short hair, baseball caps, earlobe plugs and sportswear, which is similar to metalcore and hardcore scenes, and differs from typical metalhead attire.

Deathrock

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Deathrock songs usually incorporate a driving, repetitive rhythm section; the drums and bass guitar laying the foundation within a 4/4 time time signature while the guitars either play simple chords or effects-driven leads to create atmosphere. Chorus effects, such as those produced by the Boss CE-2 pedal, are commonly used by deathrock guitarists to create a wider and more haunting tone. The use of lyrics can vary, but are typically introspective and surreal, and deal with the dark themes of isolation, gloom, disillusionment, loss, life, death, etc.; as can the style, varying from harsh and dark to upbeat, melodic, and tongue-in-cheek. Deathrock lyrics and other musical stylistic elements often incorporate the themes of campy horror and sci-fi films. Despite the similar-sounding name, deathrock has no connection to death metal, which is a subgenre of heavy metal.

Deconstructed club

Mon, 01 Jan 0001 00:00:00 +0000

History#

The style was born in New York dance parties named GHE20G0TH1K, which started in 2009. Each member of the collective came from a different background, but they incorporated those differences into the mix, hybridizing a melange of Jersey club, Baltimore, footwork, grime, and ballroom music, as well as elements of house and techno. The style that defined the deconstructed club movement was directly shaped by the possibilities of CDJs, and DJ sets, in turn, have inspired producers to imitate this chaotic experimentation in their own music, creating feedback that continued to re-imagine the expectations of the dance-floor music. The MP3s used by DJs on GHE20G0TH1K had a crunchy, cruddy texture while being played on a big sound system, which came to define their aesthetic. The term itself started circulating in the mid-2010s and was used as an umbrella term to describe a disparate, international genus of producers pushing the limits or boundaries of club music and tapping into the avant-garde. The Jam City album Classical Curves (2012) was an inspiration on the deconstructed club scene. UK musician Sophie was credited with producing pioneering work in deconstructed club and bubblegum bass music during the 2010s, influencing mainstream artists such as Charli XCX.

Deep house

Mon, 01 Jan 0001 00:00:00 +0000

Characteristics#

Deep house is known for tempos typically from 110 to 125 bpm, muted basslines, spacious use of percussion elements (typically using a Roland TR-909 drum machine), soft keyboard sounds (pads), use of advanced chord structures, ambient mixes, and soulful vocals.

History#

Deep house was largely pioneered by Chicago producers such as Marshall Jefferson (On the House) and Larry Heard (Mr. Fingers) and with tracks such as “Mystery of Love” (1985) and “Can You Feel It?” (1986); the latter had a similar impact on deep house to that of Derrick May’s “Strings of Life” (1987) on Detroit techno. The jazzy sound became more common due to the favored use of gentler, more organic (yet still synthesizer based) production and instrument sounds. Author Richie Unterberger has stated that Heard’s deep house sound moved house music away from its posthuman tendencies back towards the lush, soulful sound of early disco music (particularly that of old Philadelphia International and Salsoul records). “Can You Feel It” became a deep house blueprint; Heard used a Roland Juno-60 synthesizer to create the deep bassline, along with a Roland TR-909 drum machine for the beats. DJ Ron Trent stated that the term was initially used to describe the DJ work of Frankie Knuckles and Ron Hardy, who departed from a strictly electronic house sound to incorporate eclectic elements like disco, jazz, and underground music. In the early 1990s, the Chicago house scene was evolving, and deeper, jazzier and more eclectic strains were emerging blending house with hip-hop, disco and soul. DJ Heather was a leading figure in this second wave. In the 2000s and 2010s, the genre remained very popular. By around mid/late 2010s, however, the perception of the genre was resulting in a sense that some house music was being labeled “deep” inappropriately, and the term has since been used to encapsulate various types of bassline-driven house music, later named Brazilian bass or slap house, as the genre evolves from its historical origins.

Degenerate music

Mon, 01 Jan 0001 00:00:00 +0000

Racial emphasis#

Jewish composers such as Felix Mendelssohn and Gustav Mahler were disparaged and condemned by the Nazis. In Leipzig, a bronze statue of Mendelssohn was removed. The regime commissioned music to replace his incidental music to A Midsummer Night’s Dream. The Nazis also regulated jazz, including the banning of solos and drum breaks, scat, “Negroid excesses in tempo” and “Jewishly gloomy lyrics”.

Discrimination#

From the Nazi seizure of power onward, these composers found it increasingly difficult, and often impossible, to get work or have their music performed. Many went into exile (e.g., Arnold Schoenberg, Kurt Weill, Paul Hindemith, Berthold Goldschmidt); or retreated into “internal exile” (e.g., Karl Amadeus Hartmann, Boris Blacher); or ended up in the concentration camps (e.g., Viktor Ullmann, or Erwin Schulhoff). Like degenerate art, examples of degenerate music were displayed in public exhibits in Germany beginning in 1938. One of the first of these was organized in Düsseldorf by Hans Severus Ziegler, at the time superintendent of the Deutsches Nationaltheater Weimar, who explained in an opening speech that the decay of music was “due to the influence of Judaism and capitalism”. Ziegler’s exhibit was organized into seven sections, devoted to: # The influence of Judaism # Arnold Schoenberg # Kurt Weill and Ernst Krenek # Minor Bolsheviks (Franz Schreker, Alban Berg, Ernst Toch, etc.) # Leo Kestenberg, director of musical education before 1933 # Hindemith’s operas and oratorios # Igor Stravinsky From the mid-1990s the Decca Record Company released a series of recordings under the title “Entartete Musik: Music Suppressed by the Third Reich”, covering lesser-known works by several of the above-named composers.

Delta blues

Mon, 01 Jan 0001 00:00:00 +0000

Origin#

Although Delta blues certainly existed in some form or another at the turn of the twentieth century, it was first recorded in the late 1920s, when record companies realized the potential African-American market for “race records”. Alan Lomax was a key figure in these remote early recordings. The major labels produced the earliest recordings, consisting mostly of one person singing and playing an instrument. Live performances, however, more commonly involved a group of musicians. Record company talent scouts made some of the early recordings on field trips to the South, and some performers were invited to travel to northern cities to record. Current research suggests that Freddie Spruell is the first Delta blues artist to have been recorded; his “Milk Cow Blues” was recorded in Chicago in June 1926. According to Dixon and Godrich (1981), Tommy Johnson and Ishmon Bracey were recorded by Victor on that company’s second field trip to Memphis, in 1928. Robert Wilkins was first recorded by Victor in Memphis in 1928, and Big Joe Williams and Garfield Akers by Brunswick/Vocalion, also in Memphis, in 1929. Charley Patton recorded for Paramount in Grafton, in June 1929 and May 1930. He also traveled to New York City for recording sessions in January and February 1934. Son House first recorded in Grafton, Wisconsin, in 1930 for Paramount Records. Robert Johnson recorded his only sessions, in San Antonio in 1936 and in Dallas in 1937, for ARC. Many other artists were recorded during this period. Subsequently, the early Delta blues (as well as other genres) were extensively recorded by John Lomax and his son Alan Lomax, who crisscrossed the southern U.S. recording music played and sung by ordinary people, helping establish the canon of genres known today as American folk music. Their recordings, numbering in the thousands, now reside in the Smithsonian Institution. According to Dixon and Godrich (1981) and Leadbitter and Slaven (1968), Alan Lomax and the Library of Congress researchers did not record any Delta bluesmen or blueswomen prior to 1941, when he recorded Son House and Willie Brown near Lake Cormorant, Mississippi, and Muddy Waters at Stovall, Mississippi. However, among others, John and Alan Lomax recorded Lead Belly in 1933, and Bukka White in 1939.

Dembow beat

Mon, 01 Jan 0001 00:00:00 +0000

History#

At the beginning of the 1990s, there existed several closely related Jamaican-origin dancehall riddims revolving around a “boom-ch-boom-chick” sound such as the “Bam Bam riddim” or the “Fever Pitch riddim”. One of these riddims was “Fish Market”, also known as the “Pocoman Jam riddim”, produced by Jamaican duo Steely & Clevie in 1989. This riddim was then used in the 1990 song “Dem Bow” by Shabba Ranks, of which the name “dembow” was taken, becoming known as the “Dem Bow riddim”. The same year, it was reworked by producer Dennis the Menace in “Pounder (Dub Mix II)”, the B-side of the vocal version “Pounder” performed by Bobo General and Sleepy Wonder. “Dub Mix II” is the version that was later sampled by Puerto Rican artists in the early 1990s to 2000s, as well as the “dem bow” name being used to describe the entire nascent genre that would eventually come to be known as reggaeton. As reggaeton was beginning to form, it also employed the tresillo pattern that is common in Latin American music. The term “dembow” today commonly refers simply to the drum beat of reggaeton, which, while retaining its core “boom-ch-boom-chick” sound, has stylistic variations.

Dene music

Mon, 01 Jan 0001 00:00:00 +0000

Dengbêj

Mon, 01 Jan 0001 00:00:00 +0000

History#

Roger Lescot has performed a study through a large amount of Dengbêjs during the French Mandate in Syria and Lebanon. At that time Dengebêjs were recorded clandestinely on cassette tapes and distributed. In 1991, the Turkish president Turgut Özal announced that the use of the Kurdish language became legal except for broadcasts, publications, education and in politics. The Dengbêjs were again able to perform with more freedom. From 1994 onward, the Dengbêjs were supported by Kurdish politicians to attend festivals and TV shows outside of Turkey and from the 2000s also within Turkey. Dengbêj music became politicized and as a sign of Kurdish nationalism, which was confronted by Turkish nationalism The Kilam is a specialty of the Dengbêjs, where they just let out spontaneously what moves them, and do not even pause after the end of a phrase. The style of a stran is melodic and rhythmic, popular and love songs sung at weddings are sung in the stran style. Traditionally Dengbêjs need to learn ancient Dengbêj songs before performing their own songs. In 2003 the first Mala Dengbêjan (Dengbêj House in Kurdish) was in inaugurated in Van, Turkey. In May 2007 the Democratic Society Party (DTP) led Municipality of Diyarbakır In several other cities, Dengbêj houses were founded as well. Şakîro.

Denpa song

Mon, 01 Jan 0001 00:00:00 +0000

Terminology#

The Japanese term originally arose in the 1990s to describe quirky individuals who often daydream and live in their personal fantasies, and was derived from the in 1981. The assailant, Kawamata Gunji (川俣軍司), was using illicit substances when he slashed random bystanders in broad daylight, killing two housewives and two toddlers and injuring many others. When confronted in court, he explained that electromagnetic waves were telling him to kill people, and pleaded insanity. By the early 1990s, the term denpa began to appear throughout music and literature, and the phrase was used to refer to delusional, creepy people or crazed lunatics as a derogatory euphemism, based on the idea that such people could hear voices, see things and communicate through telepathy as a result of electromagnetic waves. Examples of such usage at the time include songs by Japanese metal band Kinniku Shōjo Tai, which made references to the murder incident. In regards to music, the term obtained a negative connotation, and was mainly associated with music that was considered creepy and had incomprehensible lyrics, often of otaku origin. Since otaku were often seen as strange people who behaved differently from the rest of society, denpa became widely associated with otaku culture in Japan and the Akihabara scene. Eventually, the term denpa began to encompass anyone who seemed quirky or out of tune with reality, as if these people were being hypnotized or controlled by electromagnetic waves. As time progressed, the denpa categorization of music began to take form, and such music became popular amongst otaku circles as a niche interest separate from the mainstream.

Descant

Mon, 01 Jan 0001 00:00:00 +0000

Origin and development#

Descant is a type of medieval polyphony characterized by relatively strict note-for-note counterpoint. It is found in the organum with a plainchant tenor (i.e. low voice; vox principis), and in the conductus without the requirement of a plainchant tenor. It is sometimes contrasted with the organum in a more restricted sense of the term (see 12-century Aquitanian polyphony below). The term continued to be used down to modern times with changing senses, at first for polyphony in general, then to differentiate a subcategory of polyphony (either in contrast to organum, or for improvised as distinct from written polyphony). By extension it became the name of a part that is added above the tenor, and later as the name of the highest part in a polyphonic setting (the equivalent of “cantus”, “superius”, and “soprano”). Finally, it was adopted as the name of the highest register of instruments such as recorders, cornets, viols, and organ stops. However, because it allowed only three, four, or at most five such chords in succession, emphasizing contrary motion as the basic condition, it “did not differ from the general European discant tradition of the time”. Because English discant technique has commonly been associated with such a succession of first-inversion triads, it has inevitably become confused with fauxbourdon, with which it has “no connection whatsoever”. This misinterpretation was first brought forward in 1936 by Manfred Bukofzer, but has been proved invalid, first in 1937 by Thrasybulos Georgiades, and then by Sylvia Kenney A second hypothesis, that an unwritten tradition of this kind of parallel discant existed in England before 1500, “is supported neither by factual evidence nor by probability”.

Descarga

Mon, 01 Jan 0001 00:00:00 +0000

Origins: son, filin and jazz#

During the 1940s, the term descarga was commonly used in the music scenes of Cuba to refer to performances of jazz-influenced boleros in an improvised manner. This was part of the so-called filin (feeling) movement spearheaded by artists such as José Antonio Méndez, César Portillo de la Luz, and Luis Yánez. At this time, however, the term descarga began to be used in a different way to describe jam sessions based on the son montuno and other Afro-Cuban rhythms.

Desert blues

Mon, 01 Jan 0001 00:00:00 +0000

Historical background#

The Tuareg people live in a region of North and West Africa that covers large portions of the Sahara across the modern-day national boundaries of Mali, Algeria, Niger, Libya, and Chad, and to a lesser extent, reaching into Burkina Faso and Nigeria. They had been nomadic pastoralists involved in trans-Saharan trade for many hundreds of years. At the turn of the 20th century, the Tuareg were subjected to French colonial rule, after a lengthy resistance movement and defeated rebellion. With the departure of colonial powers in the 1950s and 1960s, the lands inhabited by the Tuareg population were split primarily between the six new countries of Mali, Algeria, Niger, Libya, Burkina Faso and Chad, making them ethnic minorities across the region. For the next few decades, natural resources diminished due to increasing desertification and the Tuareg minorities have since been involved in a series of conflicts and rebellions, creating hardship for the survival of Tuareg people and their culture. In 1973, a major drought forced many of the Tamasheq-speaking people throughout the deserts to reconsider their traditional way of life as nomadic herders. Many took refuge in urban centers across the region, but with many lacking formal education, the Tamasheq were largely unemployed. The term ishumar began to be used describing young Tamasheq. A unique culture began to arise among many of the economically and politically marginalized youths, sometimes rebellious or revolutionary in nature, reasserting a cultural pride. Many young men, including future members of Tinariwen, took employment in a Tamasheq military unit being assembled by Libyan military leader Muammar al-Gaddafi. Besides receiving military training and weapons in the Gaddafi-sponsored camps, many of the young Tamasheq men were also exposed to revolutionary ideas, pan-Africanism, and popular music. In the decades to follow, the Tamasheq were involved in extended episodes of violence and rebellion against the various governments in the region, both as victim and perpetrator. The stories of socio-political unrest have been relayed through music, contributing to and partially shaping the Tamasheq people’s culture and ideals.

Desgarrada

Mon, 01 Jan 0001 00:00:00 +0000

History#

Linked to festive occasions, such as romarias, fairs, desfolhadas, In desgarradas, for several minutes, however it was rejected due to the application being deemed as “too broad”.

Organizations#

Associação de Cantadores ao Desafio e Tocadores de Concertinas da Beira Alta, in Castro Daire.
Associação de Tocadores e Cantadores ao Desafio Famalicense, in Gavião.
Associação Cultural Desportiva Recreativa dos Amigos Tocadores de Concertinas do Concelho de Ponte de Lima, in Ponte de Lima.
Associação Popular de Cantares ao Desafio de Vila Nova de Famalicão, in Vila Nova de Famalicão.

Desi hip-hop

Mon, 01 Jan 0001 00:00:00 +0000

Collaborations#

Desi hip hop has crossed paths with Western hip-hop multiple times, notably when musicians from both sides of the world collaborate. American rapper Snoop Dogg has worked with different artists such as rapper Dr Zeus, Bohemia, and the band RDB. Bohemia also collaborated with hip-hop artists such as Kurupt, Sean Kingston, Iraj Weeraratne and Baby Bash & The Game. The group RDB also worked with different hip hop artists such as T-Pain and Ludacris. In 2016, rapper Badshah worked with dancehall musician Sean Paul in a song called “Move Your Body” with DJ Shadow Dubai. Desi rappers born and/or raised in the West have also bridged the cultures within their music, incorporating desi influences into their music. Anik Khan has blended Queens culture with Bengali influences into his music, and similarly, rappers Riz MC and Heems of the group Swet Shop Boys incorporate many South Asian influences in their music. In 2017, Pakistani rapper Ali Kaz collaborated with WWE music producer Jim Johnston for the theme song of WWE wrestler Jinder Mahal. In 2017, Badshah also did international collaboration with Major Lazer as a commercial promotion of Tuborg Brewery. In 2017, Los Angeles based Hip Hop group - Bhanga Bangla - introduced a type of Trap music that leans heavily on South Asian stories from the trap. They went on to create a new trap movement that has sparked the attention of audiences around the world. The same year Emiway Bantai collaborated with Nigerian Canadian rapper Dax for their song “I Been That”. In 2020, Emiway Bantai collaborated with the likes of Macklemore and Snoop Dogg. In January 2021, KR$NA was featured on American rapper Hi-Rez’s song “Crossroads” with Royce da 5'9". Later in July, another collaboration of KR$NA with Hi-Rez was released, titled “Playground” featuring former Slaughterhouse member, KXNG Crooked. In the same year in November, KR$NA was featured along with A-F-R-O, Joell Ortiz, Bizzy Bone, Tech N9ne and Twista, on the song “Overdrive”, by Hi-Rez. In 2019, the release of the film Gully Boy, saw the commercialization of the genre and witnessed collaborations with Nas, the executive producer of the film and Divine and Naezy, on whom the film was loosely based. Divine would go on to be the first signee of the Indian extension of Nas’s label Mass Appeal Records. During the same year, Divine collaborated with fellow Mass Appeal signee Dave East for his song “Remand”, off his debut studio album, Kohinoor. Divine has also collaborated with Nas on two songs, one for the Gully Boy soundtrack, and another for his second studio album, Punya Paap. In 2022, rapper Badshah collaborated with Colombian singer J Balvin and Puerto Rican record producer Tainy on “Voodoo”, which was released on April 22, 2022 and would go on to feature on the official soundtrack for the video game FIFA 23. In July 2022, DJ Shadow Dubai, a Dubai based DJ announced a collaboration with Yo Yo Honey Singh and Lil Pump for track titled “Casanova”. In August 2022, Emiway Bantai collaborated with Detroit based Pakistani rapper Lazarus for track called “LOBOTOMY”. In April 2025, Nas visited India again to perform at the Mass Appeal Presents: The World Reunion—A Charity Concert, hosted by Mass Appeal India, at The Nesco Center, in Mumbai. He was accompanied by various Indian-origin rappers, such as, Divine, Raftaar, Ikka, KR$NA, King, and Steel Banglez.

Detroit techno

Mon, 01 Jan 0001 00:00:00 +0000

The Belleville Three#

The three individuals most closely associated with the birth of Detroit techno as a genre are Juan Atkins, Kevin Saunderson and Derrick May, also known as the “Belleville Three”. The three, who were high school friends from Belleville, Michigan, created electronic music tracks in their basement(s). Derrick May once described Detroit techno music as being a “complete mistake … like George Clinton and Kraftwerk caught in an elevator, with only a sequencer to keep them company.” While attending Washtenaw Community College, Atkins met Rick Davis and formed Cybotron with him. Their first single “Alleys of Your Mind”, recorded on their Deep Space label in 1981, sold 15,000 copies, and the success of two follow-up singles, “Cosmic Cars” and “Clear”, led the California-based label Fantasy to sign the duo and release their album, Enter. After Cybotron split due to creative differences, Atkins began recording as Model 500 on his own label, Metroplex, in 1985. His landmark single, “No UFO’s”, soon arrived. Eddie Fowlkes, Derrick May, Kevin Saunderson, and Robert Hood also recorded on Metroplex. May said that the suburban setting afforded a different setting in which to experience the music. “We perceived the music differently than you would if you encountered it in dance clubs. We’d sit back with the lights off and listen to records by Bootsy and Yellow Magic Orchestra. We never took it as just entertainment, we took it as a serious philosophy,” recalls May. The three teenage friends bonded while listening to an eclectic mix of music: Yellow Magic Orchestra, Kraftwerk, Bootsy, Parliament, Prince, Depeche Mode, and The B-52’s. Juan Atkins was inspired to buy a synthesizer after hearing Parliament. Under the name Deep Space Soundworks, Atkins and May began to DJ on Detroit’s party circuit. By 1981, Mojo was playing the record mixes recorded by the Belleville Three, who were also branching out to work with other musicians. The trio traveled to Chicago to investigate the house music scene there, particularly the Chicago DJs Ron Hardy and Frankie Knuckles. Juan Atkins has been lauded as the “Godfather of Techno” (or “Originator”), while Derrick May is thought of as the “Innovator” and Kevin Saunderson is often referred to as the “Elevator”

Deuda (genre)

Mon, 01 Jan 0001 00:00:00 +0000

Etymology and history#

The word deuda means one and a half. The dance is called so because during performance the legs are moved in slanted manners. The song sung during the dance is also known as nyaauli after a bird. The dance is known as Dhacha in Jajarkot district. The dance form is said to be originated in the historical Khasa Kingdom in Sinja valley of Jumla district. The dance was then spread around the neighbouring regions of the valley.

DE on Music Theory Print

Death 'n' roll

History#

Death metal

Emergence and early history (early to mid–1980s)#

Death-doom

History#

Deathcore

Characteristics#

Deathrock

Characteristics#

Deconstructed club

History#

Deep house

Characteristics#

History#

Degenerate music

Racial emphasis#

Discrimination#

Delta blues

Origin#

Dembow beat

History#

Dene music

Dengbêj

History#

Denpa song

Terminology#

Descant

Origin and development#

Descarga

Origins: son, filin and jazz#

Desert blues

Historical background#

Desgarrada

History#

Organizations#

See also#

Desi hip-hop

Collaborations#

Detroit techno

The Belleville Three#

Deuda (genre)

Etymology and history#