Flash forward fifteen years in the future. and electronic music is dead. The word “genre” has been whittled down from 800 permutations including funk, house, ambient, classical, minimal, rock, and indie, and now is used to differentiate between two musical environments – live and recorded.

Just like the merging genetic avenues of the human race, all of the technologies and methods learned during the electronic revolution have been absorbed into a single, advanced, tan-skinned entity, simply known as “music”. Artists have learned to effectively use computers and other signal processors just as effectively as violins, violas, drums, and kitchen appliances to create music that their cultural parallels can relate to, understand, and enjoy.
Music schools do not teach musical fundamentals with regards to the instruments or methods used to produce music, but instead students are encouraged to practice expressing themselves with rhythm and intonation, by singing and banging and watching and listening to their fellow learners. Before a student opens his or her creative eyes they are asked to open their ears and their mind, in an effort to help them connect to their own emotional purpose and meaning of the expression they will try to master.
Drum machines, sequencers, glitch racks, send tracks, software components, storage formats and recording techniques have all become so advanced that the majority of artists on the scene have reconnected with their abilities to directly express their thoughts and emotions through mastery of their instruments of choice. Industry standard production tools are ubiquitous, and every aspiring artist is free to explore their world of sonic pleasure in the comfort of their daily lives.
The primitive fetish with the mechanized and lifeless sounds of today are gone, and have been replaced with organic and humanized versions, giving an accurate and intimate view into the artist’s thoughts. DJ’s and mash-up architects can no longer escape the harsh scrutiny from the musical world, they are now known for what they are – regurgitators of counterfeit art, and the composers of harmony heavy and over produced dance tracks have found their rightful places as backup bass players and professional studio engineers.
Groovy, baby.