Style
| “ | Two years ago, a club world constantly in search of new beats and a media constantly in search of new trends were presented with a bright bouncy new baby which answered to the name 'Belearic Beat'...the fact that the only 'rule' proposed was that "there are no rules" was ignored...Then came Mr Balearic's lucky break: Soul II Soul. A mish mash of styles (soul, hip hop, reggae) all moulded over a rock solid beat met the 'anything goes as long as it's danceable' criteria—and more importantly, it allowed the world to rediscover a BPM below 122...These days in clubland, rap, house and soul freely rub shoulders with continental beats, alternative grooves, and a whole welter of diverse sounds constructed from an even more diverse set of influences. This is what 'Balearic' was all about...Laying down rules or attempting to initiate trends is completely contrary to what the 'Balearic Spirit' was all about (if only its pioneers had explained it better at the time we might not have spent two years getting to where we are now). An effective blanket ban on house/uptempo music in a club is silly, short-sighted, and narrow minded, and it won't take long for people to see it as such...What the 'Balearic concept' has taught us is that it doesn't matter what genre the track falls into, as long as the beat 'n' groove move the feet and what's on top of 'em is pleasing to the ear. | ” |
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—Mixmag editorial, "Famous Last Words on Clubland's Class System or 'How We Learned to Love the Balearic Beat'". Mixmag: 71–73. July 1990. |
Balearic beat records vary between house or Italo house and deep house influenced sounds and a slower R&B-influenced (under 119bpm) beat consisting of bass drum, snare, and hi-hats (often produced with a Roland TR-909 drum machine) programmed in certain laid-back, swing-beat patterns; plus soul, Latin, African, funk, and dub affectations; and production techniques borrowed from other styles of dance music that were popular at the time. Vocals were sometimes present, but much of the music was instrumental. The sounds of acoustic instruments such as guitar and piano were sometimes incorporated into Balearic Beat. Having been primarily associated with a particular percussion pattern that eventually fell out of vogue, the style eventually faded from prominence, and its repertoire was subsumed by the more general "chill out" and "downtempo" genres.
The style of Balearic Beat is described by its inventors, as opposed to its UK followers, as the ability for the DJ to play across a broad range of styles, from early minimal New Beat to the first extended remixes of pop-songs, making Balearic DJ sets those that tend to have the sharpest turns of musical direction. While the public outside Ibiza generally describes Balearic Beat as a music style, the island based community regard Balearic Beat as a non-style or a healthy disrespect to style conformity and a challenge to the norm. It's a freestyle expression that seamlessly binds sporadic vinyl inspiration through technical flair on the turntables. Today, due to stylistic segregation in electronic dance music, few promoters and DJs dare to stretch the spectrum of styles that far in fear of losing identity and clients. DJ Alfredo still heralds the most diversity among Ibiza DJs, but generally the approach to mixing as well as the terminology, have been swallowed up by the Chillout scene.
Ibiza is still considered by some to have its own 'sound,' however, including among others the music of Jens Gad, co-creator of Enigma, and his new chillout-world-influenced hybrid project, Achillea, recorded in his studio in the hills overlooking Ibiza. Compilations such as Global Lounge Sessions: The Balearic Sound of Ibiza, released in 2002, and Sequoia Groove's Buddha-Lounge series, continue to be released. These generally feature house music and certain downtempo selections, not the old style of Balearic Beat, per se. Some prefer to use the term Balearic more generally, however, to apply to all of these styles.
Read more about this topic: Balearic Beat
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