Dove Shore

Electronic music has always maintained a modest yet comfortable position in mainstream music’s landscape, but the recent explosion of electronic’s various subgenres—particularly house, dubstep, and breakbeat—has turned what was once a novelty into music that is now viewed, alongside pop, as pure social necessity. To what (or whom) does electronic music owe its newfound mainstream success? If live performances explain the genre’s recent surge in popularity, then Steve Aoki has assumed the status of de facto leader, whether he realizes it or not. 

“Being able to showcase our live show to all these people is … really fucking awesome,” Aoki says. “We’ve done 36 shows so far, and we’ve only had two days off.”

The electronic genre’s new reputation comes in part from the artists’ willingness to put on grandiose live performances and festivals, many of which are capable of selling out entire arenas. Since the typical fan’s attendance usually goes hand in hand with a mixture of alcohol and recreational drugs, it’s no surprise that styles like house and dubstep appeal mainly to younger audiences who find themselves increasingly intrigued by the abrasive DJ lifestyle. The university demographic has shown its willingness to invest in household sound systems, turntables, and mixing equipment all in an attempt to replicate the intense audio and visual stimuli of these concerts. It might be easy to scoff at these ham-handed ventures, but for Aoki, it’s an enormous compliment. 

“When I got into punk and hardcore at 13, the first thing I did was shave my head. I was going to hardcore shows; it was my life. So when kids discover something that’s so exciting that it becomes their lifestyle, [it’s] going to change who they are.”

Aoki isn’t repulsed by his awkward teenage years either. In fact, he considers it a stepping-stone in his musical career. By age 19, he had already established his multigenre label Dim Mak Records, which currently manages alternative contemporaries like Dada Life, MSTRKRFT, and the Bloody Beetroots. He even acknowledges that completely embracing his favourite music was the impetus behind Dim Mak’s founding. 

“It was the hardcore lifestyle,” Aoki says. “And that [was what] emboldened the spirit of starting a label.”

Just 10 years after founding Dim Mak, Aoki’s presence would gain traction in the Los Angeles electronic scene, and would eventually come to dominate much of the culture of dance music. 

Despite this, there still remains the question of electronic music’s longevity. While house and dubstep are a serious presence in modern music, who’s to say that these subgenres won’t be just as vulnerable to death by over-exposure, or won’t succumb to the finicky and ever-changing tastes of audiences around the world? If fans continue to show dissatisfaction or disinterest toward popular music’s status quo, these concerns might not even matter. 

“There’s no more music on TV, the radio’s playing the same 20 recycled songs, people are discovering on their own,” Aoki says. “That’s why the underground is just getting bigger and bigger.”

The release of Wonderland, Aoki’s first album, seems to confirm that electronic music’s ascendancy is legitimate. In a genre where DJs and performers are known only by remixes and singles, Aoki’s decision to release an entire album of material is a venture into uncharted territory. 

“DJs are defined by songs; bands and hip-hop artists are defined by albums,” Aoki says. “The top 10 DJs in the world don’t even release albums.”

In today’s musical climate, where album sales are quickly eroding in favour of 99 cent digital downloads, his release is a foray that is uncharacteristic of house music. 

Aoki defends the perseverance of electronic music not just on the shortcomings of pop, but on the public’s insatiable appetite for discovering unique, good music. His attitude might seem flippant, but the faith he holds in electronic music is thoroughly sincere. And if the impact he’s had upon college campuses is any indication, Aoki has plenty of reason to believe that electronic music isn’t just supplementing popular music—it is popular music. 

Steve Aoki plays Metropolis  (59 Ste. Catherine St. E.) this Saturday at 9 p.m. Tickets start at $42.