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| Album Rating: B |
For all the hate electro house gets from more "cultured" electronic music fans, there's still something to be said for it. After all, it doesn't generally try (or even pretend to try) to be deep, subtle or profound, and while that displeases a lot of people it's not in and of itself a bad thing. It's made for the dancefloor, and though that might not be for everybody, the style has its own time and place. The straight four-on-the-floor beat, the kick or snare doubling over and over again until the drop, the Massive wobbles, the hint of melody before said wobbles kick in, and the jump-up-and-down fist-pump main section are all designed with the average EDM listener in mind, and it's unfair to say it's bad simply because it's made for a more general market than critically acclaimed styles like garage or IDM are. Given that, though, a lot of electro house releases fade into anonymity immediately because many songs in the genre sound too damn similar for their own good. Really, it turns into a "name game," with big-name artists releasing whatever the hell they want and, so long as they meet the minimum electro house requirements, achieving success after success. Even a dismal release can succeed if the artist is well-known enough (see Zedd's
Clarity), making it difficult for an unknown artist to break through the walls between them and being recognizable. So, in short, the biggest songs, EPs, remixes, and (rarely) albums are usually released from a few artists on a handful of labels, which isn't quite the healthiest possible scenario for electro house.
