Cover Photo by Mic JohnsonLP
As of late, the house music genre has garnered a lot of attention on various social media platforms, as well as in mainstream radio. With the "European House Summer" musical trend filling my TikTok For You Page this past August, the hype has only continued to grow.
Coveted house icons like Peggy Gou and Fred Again have garnered a massive amount of support, specifically this year. While diehard fans have celebrated their music for years, new fans are taking these artists' celebrity to the next level. Fred Again, for example, was nominated for four Grammys in the upcoming 2024 GRAMMY ceremony, with his devoted followers expressing their excitement all over social media.
With any genre gaining popularity, subgenres will naturally develop. One of my favorite examples of this is stutter house. This corner of house most specifically focuses on production composition, utilizing an almost stutter-like composition style for both the vocals and the instrumentals, as well as the consistent use of vocal and instrumental chops.
These types of songs are wildly popular in the underground club scene, at raves, and for edits on platforms such as TikTok and Instagram. Songs "I Just Need" and "Elysian Park" by Daniel Allan represent the genre at its finest, crescendoing in fantastic choruses that utilize the stutter composition technique flawlessly.
The legitimacy of stutter house as an official genre sparks intense debate by hardcore EDM lovers. On one hand, some listeners believe that the use of vocal chops is simply an element of some house tracks and not enough of a differentiator to warrant an entire subgenre. Others argue that the actual legitimacy of subgenres isn't important; defined genres simply enable listeners to categorize and find music similar to sounds they already enjoy.
Where do you land on the debate of stutter house as a subgenre? What do you want to see covered next on Enharmonic Magazine? Let us know.
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