Big room house
Big room house or simply big room is a fusion subgenre of house music (notably progressive house and electro house) that gained popularity in the early 2010s. Characterized by its simple instrumentation yet complex structure, big room house soon revolutionized the EDM scene into multiple subgenres that we know today.
Big room house
Late 2000s (decade), Europe, particularly in Sweden, Norway and the Netherlands
- Drum machine
- keyboard
- personal computer
- sampler
- sequencer
- DAW
- synthesizer
- vocals
Although the term "big room" started appearing in news articles circa 2007, the current state of this subgenre emerged around 2010—12 and was popularized by songs such as "Epic" and "Cannonball". From 2013 on, artists like Martin Garrix, KSHMR, Dimitri Vegas & Like Mike, Hardwell, Nicky Romero, Afrojack, and R3HAB began experimenting with this sound in their compositions.[1]
The genre is generally set at a tempo that falls between 126 and 132 bpm. Songs typically include long buildups followed by an electro-style drop accompanied by the four on the floor kick drums typical of house music. Melodies are often simple and minimal, though a Trance-inspired supersaw is frequently used.[1][2]
Structure[edit]
The structure of big room house songs is similar to that of American progressive house of the late 2000s. There are two build-ups complete with breaks, two drop sections, and one or two breakdowns, one of which may or may not include the intro/outro phase. Unlike progressive house, big room is adapted to radio edited format and features either the first or the second build-up usually much longer than the other one. In case of remixes, one usually features the whole vocal/riff sample of the initial song, while the other build-up is a simple break that is significantly shorter and prepares the listener for the drop.
Big room features relative minimalism, with the sound enhanced by 'large-hall' reverb effects.[5] One bassline, often aided by one or two highs and lows, creates the mood for the whole composition. Unlike in electro house proper, where the bass itself is subject to additional wave effects (such as attack, threshold and sustain) to beautify the melody, in big room house, only the way the sound is released plays a major role. Henceforth, the drum beats are made minimal, sometimes with only a kick or tom and a couple of hi-hats.
Criticisms[edit]
The genre has been criticized by several musicians, who have described it as 'stereotypical EDM sound lacking originality and creativity' and said that it is homogeneous and lacks originality, diversity, and artistic merit.[6][7] Mixmag described the genre as composing of "titanic breakdowns and spotless, monotone production aesthetics".[8] Wolfgang Gartner described the genre as a "joke", and disregarded it, alongside conglomerates such as SFX Entertainment, as "digestible cheap dance music".[9] He also called the genre "the EDM Apocalypse", saying "real music should have some soul and authenticity to it, and not just be a big kick drum and a techno like breakdown with a cheesy one-liner and a 'big drop'".[10]
Writing for Complex Media, Jake Lang (808sJake) noted the song's formulaic appeal, The issue here is that "Animals" and the other tracks listed (as well as those like it) have all done exceedingly well despite a lack of originality. It is this copycatism that seriously harms the future of dance music and potential cultural impact as a whole...In reality, they are tawdry examples of producers looking for the shortest possible path to a main stage".[3]
Russell Smith of The Globe and Mail observes a "fiery friction" between fans of traditional underground electronic music and the newer, typically younger fans who have arisen as a result of big room's movement of EDM into the mainstream.[11]