Balearic beat

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Balearic Beat or Balearic House is an eclectic blend of DJed dance music that originally emerged in the mid-1980s.[1][2] It later became the name of a more specific style of electronic dance music that was popular into the mid-1990s. Balearic Beat was named for its popularity among European nightclub and beach rave patrons on the Balearic island of Ibiza, a popular tourist destination. Some dance music compilations referred to it as "the sound of Ibiza," even though many other, more aggressive and upbeat forms of dance music could be heard on the island.

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[edit] History

UK disc jockeys Trevor Fung, Paul Oakenfold, and Danny Rampling are commonly credited with having "discovered" Balearic Beat in 1987 while on holiday in Ibiza. Reportedly, they were introduced to the music at Amnesia, an Ibizan nightclub, by DJ Alfredo from Argentina, who had a residency there.[3] DJ Alfredo, whose birth name is Alfredo Fiorillo, played an eclectic mix of dance music whose style encompassed the indie hypno grooves of the Woodentops, the mystic rock of the Waterboys, early house, Europop, and oddities from the likes of Peter Gabriel. After visiting other clubs on the island where similar music was being played, including Pacha and Ku, Oakenfold and his friend Trevor Fung returned to London, where they unsuccessfully tried to establish a nightclub called the Funhouse in the Balearic style. Returning to Ibiza during the summer of 1987, Oakenfold rented a villa where he hosted a number of his DJ friends, including Danny Rampling, Johnny Walker, and Nicky Holloway. Returning to London after the summer, Oakenfold reintroduced the Balearic style at a South London nightspot called the Project Club. The club initially attracted those who had visited Ibiza and who were familiar with the Balearic concept. Fueled by their use of Ecstasy and an emerging fashion style based on baggy clothes and bright colors, these Ibiza veterans were responsible for propagating the Balearic subculture within the evolving UK rave scene. In 1988, Oakenfold established a second outlet for Balearic Beat, a Monday night event called Spectrum, which is credited with exposing the Balearic concept to a wider audience. [4]

[edit] Style

The early-1990s Balearic Beat sound was typified by a distinctive, relatively heavy, slow (90–110 bpm), R&B-influenced beat consisting of bass drum, snare, and hi-hats (often produced with a Roland TR-909 drum machine) programmed in certain laid-back, swing-beat patterns; plus soul, Latin, African, funk, and dub affectations; and production techniques borrowed from other styles of dance music that were popular at the time. Vocals were sometimes present, but much of the music was instrumental. The sounds of acoustic instruments such as guitar and piano were sometimes incorporated into Balearic Beat. Major artists credited with popularizing this form of Balearic Beat include Soul II Soul and Enigma. A trance offshoot, Ibiza Trance, also developed during this time. Having been primarily associated with a particular percussion pattern that eventually fell out of vogue, the style eventually faded from prominence, and its repertoire was subsumed by the more general "chill out" and "downtempo" genres.

The style of Balearic Beat is described by its inventors, as opposed to its UK followers, as the ability for the DJ to play across a broad range of styles, from early minimal new beat to the first extended remixes of pop-songs, making Balearic DJ sets those that tend to have the sharpest turns of musical direction. While the public outside Ibiza generally describes Balearic Beat as a music style, the island based community regard Balearic Beat as a non-style or a healthy disrespect to style conformity and a challenge to the norm. Its a freestyle expression that seamlessly binds sporadic vinyl inspiration through technical flair on the turntables. Today, due to segregation in the electronic dance music few promoters and thus DJ's dare to stretch their spectrum of styles that far in fear of losing identity and clients. DJ Alfredo still heralds the most diversity among Ibiza DJ's, but generally the approach to mixing as well as the terminology, have been swallowed up by the Chillout scene.

Ibiza is still considered by some to have its own 'sound,' however, including among others the music of Jens Gad, co-creator of Enigma, and his new chillout-world-influenced hybrid project, Achillea, recorded in his studio in the hills overlooking Ibiza. [5] Compilations such as Global Lounge Sessions: The Balearic Sound of Ibiza, released in 2002, and Sequoia Groove's Buddha-Lounge series, continue to be released. [6] These generally feature house music and certain downtempo selections, not the old style of Balearic Beat, per se. Some prefer to use the term more generally, however, to apply to all of these styles.

[edit] External links

[edit] References

  • Brewster, Bill & Broughton, Frank (2006-05-22), Last Night A DJ Saved My Life: The history of the disc jockey (Revised (UK only) ed.), Headline Book Publishing, ISBN 978-0755313983 
  1. ^ Gilbert, Jeremy; Pearson, Ewan. Discographies: Dance Music, Culture, and the Politics of Sound. Routledge. 1999. ISBN 041517032X. "The musics which fed into acid house and the developing culture were various too; the heterogeneous sounds of the 'Balearic beat' which helped define it did not constitute a discrete musical genre, but an unholy mix of, among other things, hip hop, house, Mediterranean pop and indie rock. DJs' playlists temporarily situated highly disparate musics beside one another. Musical miscegenation reunited several of the dance forms that had emerged after disco, mixing American and European dance musics. Though house music was the dominant mode, the rapid proliferation of styles and sub-genres which followed in its wake, for a short time at least, kept dancefloors moving to a range of grooves."
  2. ^ Evans, Helen. Out of Sight, Out of Mind: An Analysis of Rave culture. Wimbledon School of Art, London. 1992. "It was in the upmarket clubs of Ibiza: Pacha, Amnesia, Glory's and Manhattans, that Balearic beat was created. DJ's would mix together musical forms as diverse as 'Public Enemy' and 'The Woodentops', to create that eclectic, highly danceable, don't care holiday feel."
  3. ^ Kaplan, C.D., Grund, J-P & Dzoljic, M.R. (1989) Ecstasy in Europe: reflections on the epidemiology of MDMA. Instituut voor Verslavingsonderzoek, Rotterdam.
  4. ^ Reynolds, Simon. Generation Ecstasy : Into the World of Techno and Rave Culture. Routledge. 1999. ISBN 0415923735.
  5. ^ Jens Gad and Achillea discography
  6. ^ Sequoia Groove Ibiza-influenced chillout compilations, including the Buddha-Lounge series
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