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IDM
Intelligent dance music (commonly IDM) is a term that describes an electronic music genre that emerged in the early 1990s at the end of the British rave era. The genre is influenced by a wide range of musical styles particularly electronic dance music (EDM) such as Detroit Techno.[1][2] Stylistically, IDM tends to rely upon individualistic experimentation rather than on a particular set of musical characteristics.[3] The range of post-techno[4] styles to emerge in the early 1990s were described variously as art techno,[5] ambient techno, intelligent techno, and electronica. In America the latter term is now used by the music industry as a catchall to describe EDM and its many derivatives. 
Autechre, notable electronic music act associated with IDM.
The term IDM is said to have originated in the United States in 1993 with the formation of the IDM list, an electronic mailing list originally charted for the discussion of music by (but not limited to) a number of prominent English artists, especially those appearing on a 1992 Warp Records compilation called Artificial Intelligence.
Usage of the term "Intelligence Dance Music" has been widely criticised by leading electronic musicians Intelligent dance music#Reception and is still seen by some as being peculiar to the U.S.[6][7] but it is routinely used by music journalists, record labels, and fans on both sides on the Atlantic.[8]
Because of this lack of consensus, many electronic musicians, music journalists and fans prefer the term Electronica over "IDM".
At the beginning of the British rave era a number of UK based electronic musicians were inspired by the underground dance music of the time and started to explore experimental forms of EDM production. By the early 1990s the music associated with this experimentation had gained prominence with releases on a variety of record labels including Warp Records (1989), Black Dog Productions (1989), R & S Records (1989), Carl Craig's Planet E, Rising High Records (1991), Richard James's Rephlex Records (1991), Kirk Degiorgio's Applied Rhythmic Technology (1991), Eevo Lute Muzique (1991), General Production Recordings (1989), Soma Quality Recordings (1991), Peacefrog Records (1991), and Metamorphic Recordings (1992).
By 1992 Warp Records was marketing the musical output of the artists on its roster using the description electronic listening music, but this was quickly replaced by intelligent techno.[9] In the same period (1992–93), other names were also used, such as armchair techno, ambient techno, and electronica,[10] but all were attempts to describe an emerging offshoot of electronic dance music that was being enjoyed by the "sedentary and stay at home".[11] Steve Beckett, co-owner of Warp, has said that the electronic music the label was releasing at that point was targeting a post-club home listing audience.[12] In 1993 a number of new record labels emerged that were producing intelligent techno geared releases including New Electronica, Mille Plateaux, 100% Pure, and Ferox Records.
[edit] Artificial Intelligence
In 1992, Warp released Artificial Intelligence, the first album in the Artificial Intelligence series. Subtitled "electronic listening music from Warp", the record was a collection of tracks from artists such as Autechre, B12, The Black Dog, Aphex Twin, and The Orb, under various aliases.[13] These artists, among others, would eventually become the main topics of conversation in the Intelligent Dance Music List, an electronic mailing list founded in August 1993.
[edit] The IDM List
In November 1991, the phrase "intelligent techno" appeared on Usenet in reference to Coil's The Snow EP.[14] Another instance of the phrase appeared on Usenet in April 1993 in reference to The Black Dog's album Bytes.[15] Wider public use of such terms on the Internet did not come until August 1993, when Alan Parry announced the existence of a new electronic mailing list for discussion of "intelligent" dance music: the Intelligent Dance Music list, or IDM List for short.[16][17]
The first message, sent on August 1, 1993, was entitled "Can Dumb People Enjoy IDM, Too?".[18] A reply from the list server's system administrator, Brian Behlendorf, revealed that Parry originally wanted to create a list devoted to discussion of the music on the Rephlex label, but they decided together to expand its charter to include music similar to what was on Rephlex or that was in different genres but which had been made with similar approaches. They picked the word "intelligent" because it had already appeared on Artificial Intelligence and because it connoted being something beyond just music for dancing, while still being open to interpretation.[19]
Artists that appeared in the first discussions on the list included Autechre, Atom Heart, LFO, and Rephlex Records artists such as Aphex Twin, µ-ziq, and Luke Vibert; plus artists such as The Orb, Richard H. Kirk, and Future Sound of London, and even artists like System 7, William Orbit, Sabres of Paradise, Tycho, Orbital, Plastikman and Björk.
As of 2008, the mailing list is still active.
[edit] Artificial Intelligence Vol. 2
Warp's second Artificial Intelligence compilation was released in 1994. The album featured fragments of posts from the mailing list incorporated into typographic artwork by The Designers Republic. Sleeve notes by David Toop acknowledged the genre's multitude of musical and cultural influences and suggested none should be considered more important than any other.[1]
During this period, the electronic music produced by Warp Records artists such as Polygon Window (an alias of Richard D. James), Autechre, LFO, B12, Seefeel, and The Black Dog, gained popularity among electronic music fans, as did music by artists on the Rephlex label. Lesser-known artists on the Likemind label and Kirk Degiorgio's A.R.T. and Op-Art labels, including Degiorgio himself under various names (As One, Future/Past and Esoterik), Steve Pickton (Stasis) and Nurmad Jusat (Nuron) also found an audience, along with bigger-name, cross-genre artists like Björk and Future Sound of London.
IDM in America
In the mid-1990s, North American audiences welcomed IDM, and many IDM record labels were founded, including Drop Beat, Isophlux, Suction, Schematic, and Cytrax.[20] In Miami, Florida, labels like Schematic, AiRecords, Merck Records, Nophi Recordings, and The Beta Bodega Coalition released material by artists such as Phoenecia, Dino Felipe, Machinedrum, and Proem. Another burgeoning scene was the Chicago/Milwaukee area, with labels such as Addict, Chocolate Industries, Hefty, and Zod supporting artists like Doormouse, Trs-80 and Emotional Joystick. Tigerbeat 6, a San Francisco based label has released IDM from artists such as Cex, Kid 606, and Kevin Blechdom. Contemporary IDM artists include Team Doyobi, Quim, Himuro Yoshiteru, Kettel, Ochre, Marumari, Benn Jordan, Proem, Lackluster, Arovane, Ulrich Schnauss, Wisp and Zygote. [21]
[edit] Reception
British electronic music and techno artists, including Aphex Twin, Cylob, and Mike Paradinas, have criticised the term IDM. Paradinas has stated that the term IDM was only used in America.
Allmusic Guide describes the IDM name as
A loaded term meant to distinguish electronic music of the '90s and later that's equally comfortable on the dancefloor as in the living room, IDM (Intelligent Dance Music) eventually acquired a good deal of negative publicity, not least among the legion of dance producers and fans whose exclusion from the community prompted the question of whether they produced stupid dance music.
In a September 1997 interview, Aphex Twin commented on the 'Intelligent Dance Music' label:
I just think it's really funny to have terms like that. It's basically saying 'this is intelligent and everything else is stupid.' It's really nasty to everyone else's music. (laughs) It makes me laugh, things like that. I don't use names. I just say that I like something or I don't.[22]
Aphex Twin's Rephlex records official overarching genre name is Braindance, of which Dave Segal of Stylus Magazine asked whether it was a "snide dig at IDM’s mockworthy Intelligent Dance Music tag?"[23]
Kid 606 has said,
I hate IDM and its elitist champions. It makes the music sound so much more than it actually is. It's a label invented by PR companies who need catchphrases. I like sounds, but hate what people attach to sounds.[24]
Chris Jeffs (Cylob) said, "Also, anyone who applies the term IDM to my music deserves to be shot."[25]
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