Beatrice Lang
Serbian DJ Marko Milicevic, also known as Gramophonedzie, released the electro swing track Why Don't You in 2009, which sampled Peggy Lee's swing standard Why Don't You Do Right. The song, with lyrics like You had plenty money, 1922 / You let other women make a fool of you / Why don't you do right, like some other men do?, gained widespread popularity, becoming one of the biggest club records of that year. Electro swing, a term coined in 2008, combines vintage music from the 1920s to 1950s with electronic beats, often focusing on aesthetics over musical substance. While some find the subgenre repetitive and bland, others are drawn to its lightheartedness and easy-listening attributes.
| Characteristics | Values |
|---|---|
| Genre | Electronic dance music |
| Sub-genres | Glitch swing, swing ’n’ bass, swing hop |
| Fusion | House music, hip-hop beats, swing samples |
| Vintage Influence | Swing and jazz music from the 1920s to 1940s/50s |
| Origin | Coined in 2008 in Paris by Olivier at Wagram Records |
| Popularity | Gained widespread popularity in the early 2010s |
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What You'll Learn
The relationship between hip-hop and jazz
Jazz and hip-hop have long been intertwined, with hip-hop artists using jazz as a jumping-off point, particularly as sampling became prevalent. Both genres are Black American art forms, serving as outlets for artists to share their experiences and struggles. Jazz legend Miles Davis' final album, Doo-Bop, featured hip-hop beats and collaborations with producer Easy Mo Bee, while Herbie Hancock's "Rockit" experimented with scratching.
Hip-hop artists have been influenced by their parents' jazz records, and jazz greats like Terrace Martin have produced records for hip-hop artists like Kendrick Lamar. The jazz community has been divided between traditional styles and newer forms, with influential figures like Wynton Marsalis advocating for a return to traditional values. Jazz-rap's emergence elevated rap music's status by associating it with jazz's cultural capital, providing a platform for social and political commentary.
In the 1960s and 1970s, London's club scene saw DJs mixing rare jazz tracks with psychedelic styles, funk, and percussion to create "acid jazz." In the 1980s, they added elements of hip-hop, emphasizing the rhythmic component with live musicians playing over pre-recorded music to create a new type of danceable jazz. In the US, hip-hop DJs teamed up with jazz artists to produce a jazz-funk-hip-hop fusion style, with Herbie Hancock experimenting with scratching on "Rockit."
In the 1990s, jazz musicians like Russell Gunn and Roy Hargrove began exploring new ways to intertwine jazz and hip-hop, incorporating live instrumentation, improvisation, DJs scratching, and MCs rapping. Hargrove formed the hip-hop-soul-jazz fusion group The RH Factor in the early 2000s, which had a major impact on young musicians like Robert Glasper. By the late 1990s, jazz-rap had gained mainstream acceptance, with artists like Guru's Jazzmatazz series featuring collaborations between jazz and hip-hop artists.
Hip-hop and jazz share similarities in their evolution as art forms, with jazz providing precedents for hip-hop in the form of scat singing and rhythmical speech patterns. Both genres tell the story of Black Americans and share practices such as cutting contests, which gave birth to the emcee battle. Jazz has always been fascinated with hip-hop, and the two genres complement each other, with jazz providing a platform for hip-hop to elevate its status and explore social and political themes.
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Electro swing's focus on aesthetics
Electro swing, a subgenre that gained popularity in the early 2010s, has been criticised for its focus on aesthetics over musical substance. The music and its artists are caught up in recreating the aesthetics of the swing era, particularly the 1920s to 1950s, resulting in a sense of sameness across the genre. The electro swing track "Why Don't You" by Gramophonedzie, for example, samples Peggy Lee's swing standard "Why Don't You Do Right". This subgenre is often viewed as trying to "fit in" with a particular aesthetic, prioritising the feel of the swing era over musical creativity.
The electro swing sound is characterised by the use of vintage samples, electro beats, gypsy-jazz guitar, electric double bass, keys, live drums, and dirty synths. Artists in this genre blend traditional swing vibes with modern elements, such as creamy vocals and native cultural flavours. While this blend can create an infectious and lighthearted listening experience, it has also been criticised for its lack of innovation.
Critics argue that electro swing does not utilise samples in a creative way, instead prioritising the recreation of the swing era's aesthetic. This focus on aesthetics may contribute to a perception of blandness or repetitiveness within the genre. The relationship between house and jazz, for instance, is often richer and more interesting than the creative use of samples in electro swing.
However, some artists within the electro swing community, such as Wolfgang Lohr, Atom Smith, and The Swing Bot, are experimenting with unique blends of vintage and modern elements. These artists combine vintage jazz traditions with underground electronic dance music, creating club-based sounds that appeal to international audiences.
Despite the criticism levelled at the genre, electro swing has had a lasting impact, with a dedicated fan base and a presence in internet meme compilations, YouTube video essays, and pop culture. Its staying power may be attributed to its easy-listening attributes and the lightheartedness it evokes. While the focus on aesthetics may be a detractor for some, it has also contributed to the distinctiveness and popularity of the genre.
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Lack of creativity in electro swing
Electro swing, a genre of dance music that gained popularity in the early 2010s, has been criticised for its lack of creativity. The genre heavily relies on sampling or composing swing music, particularly big band swing from the 1930s and 1940s. While electro swing has an infectious and lighthearted appeal, with an easy-listening quality, some argue that it lacks musical substance.
Critics of electro swing argue that the genre is more concerned with aesthetics than creativity. The music tries to “fit in” with the swing era aesthetic, resulting in a sense of sameness across many electro swing songs. Artists may be focused on evoking the glamour and excitement of the swing era rather than innovating musically. This focus on aesthetic can make the genre seem repetitive and bland to some listeners.
The creative possibilities within electro swing are limited by the nature of swing samples. Unlike hip-hop, which has a deep relationship with jazz and allows for creative sampling and rapping, electro swing struggles to incorporate swing samples in fresh and interesting ways. The constraints of the swing era aesthetic may hinder the genre's ability to evolve and experiment.
The indie nature of electro swing may also contribute to its lack of creativity. With a smaller community of artists and listeners, the genre may have limited opportunities for collaboration, innovation, and exposure to diverse influences. Additionally, electro swing competes with mainstream genres like pop and rock, which have a more extensive industrial complex and a broader audience reach.
Some listeners have expressed boredom with electro swing due to the limited variety of artists and songs. They may find themselves returning to the same popular electro swing songs or seeking similar vibes in adjacent genres. The challenge of finding and manipulating old swing samples to create something unique further highlights the creative constraints within the genre.
While electro swing has its enthusiasts, critics argue that it could benefit from prioritising musical innovation over aesthetic nostalgia. By embracing more diverse influences, experimental sampling techniques, and collaborative efforts, the genre could evolve and offer listeners a more dynamic and creative experience.
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The popularity of Gramophonedzie's 'Why Don't You'
Serbian DJ Marko Milićević, known by his stage name Gramophonedzie, rose to fame with his 2010 single "Why Don't You". The song, which samples Peggy Lee's vocals from "With Smokers Dream" (1936), peaked at number 12 on the UK Singles Chart. It also charted at number 7 in Belgium, number 19 in the Netherlands, and number 61 in Switzerland.
"Why Don't You" is an electro-swing song, a subgenre that combines swing music with electronic elements. Electro-swing gained popularity in the early 2010s, particularly on the internet, and has been described as infectious and lighthearted. However, some critics argue that the genre prioritizes aesthetics over musical substance, resulting in repetitive and bland tracks.
Gramophonedzie's "Why Don't You" stands out within the electro-swing genre due to its catchy groove and unique sampling of 1930s swing music. The song's popularity can be attributed to its blend of vintage and modern elements, creating a danceable track that appeals to both swing enthusiasts and electronic music fans.
The lyrics of "Why Don't You", including "You had plenty money, 1922 / You let other women make a fool of you / Why don't you do right, like some other men do?", add a playful and cheeky layer to the song. They speak to a narrative of a wealthy individual in 1922 who is being fooled by other women, prompting the question of why they don't act with integrity like some other men.
Overall, the popularity of Gramophonedzie's "Why Don't You" can be attributed to its successful fusion of swing and electronic elements, catchy groove, and unique sampling of vintage swing music. The song's blend of old and new, coupled with its playful lyrics, helped it stand out within the emerging electro-swing genre and resonate with audiences across Europe.
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Artists who remix antique music with beats
Electro swing, a subgenre that gained popularity in the early 2010s, has received criticism for its pursuit of aesthetics over musical substance. Listeners have observed that electro swing artists may be more concerned with invoking the allure of the swing era than with creating innovative music. This perception has led to accusations of repetitiveness and a lack of creativity in the genre.
However, one group that successfully blends antique music with modern beats while maintaining a unique and creative sound is Beats Antique. Formed in 2007, Beats Antique is a US-based experimental world fusion and electronic music group. Their music combines Middle Eastern, North African, and Indian sounds with electronic genres such as ambient techno, acid house, and breakbeat. Beats Antique is known for their live performances, which feature Tribal Fusion dance and performance art alongside their unique sound.
The group has released several albums, including "Collide," which ranked among the top 10 most downloaded artists in the Middle East and World Dance categories on Amazon. Their subsequent albums, "Contraption Vol. 1" and "Elektraphone," further showcased their collaborative approach by featuring artists such as hammered dulcimer player Jamie Janover and vocalist LYNX. Beats Antique has also toured extensively, encouraging audience participation and wild costumes at their shows.
In addition to Beats Antique, other artists have explored the fusion of antique music with modern beats. For example, the electro swing genre itself, despite criticisms, has produced numerous artists and songs that have gained popularity online and in internet culture. Additionally, artists like Aphex Twin, Autechre, Boards of Canada, and Squarepusher are known for their electronic music that draws influences from various genres and styles, including ambient techno and Detroit techno. These artists showcase a range of approaches to blending antique and modern sounds, creating unique and creative musical experiences.
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Frequently asked questions
'Why Don't You Do Right' is an electro swing track by Serbian DJ Gramophonedzie (Marko Milicevic). It samples Peggy Lee's swing standard 'Why Don't You Do Right'.
Electro Swing is a musical genre that combines vintage music from the 1920s to 1940s/50s with electronic beats. The term was coined in 2008 in Paris by Olivier at Wagram Records.
Electro Swing often features vintage samples, electro beats, gypsy-jazz guitar, electric double bass, keys, live drums, synths, and vocals. The genre is known for its lightheartedness and easy-listening attributes.
Some people criticise Electro Swing for prioritising aesthetics over musical substance. They argue that the genre is repetitive and does not allow for much creativity in the use of samples. However, others find the subgenre infectious and enjoyable.
