Electronic music is a broad and often ambiguous term, encompassing a vast range of styles, tools, and traditions. This guide defines what we include—and what we exclude—when ranking the most important artists in electronic music history.
Our focus is on popular electronic music: genres, artists, and works primarily rooted in the popular music sphere, as opposed to academic or classical traditions. The key question is not simply whether the music uses electronic instruments, but whether it belongs to the culture and lineage of electronic music as it is understood by listeners, critics, and practitioners.
This guide clarifies the criteria for inclusion—by artist, genre, and case-by-case exceptions—and introduces a two-tier system that distinguishes core figures from boundary contributors based on their relevance and impact within the genre.
Core Principle: The Cultural Lineage Test
At the heart of this framework lies a central question:
"Is this artist or genre rooted in the cultural lineage of popular electronic music?"
In other words: Does the music emerge from the environments, traditions, and communities that define the genre—not just in sound, but in spirit?
To qualify, the music should meet most or all of the following characteristics:
• Originates from club culture, studio experimentation, or independent scenes—That is, it grows out of DJ culture, underground movements, bedroom production, or experimental studios—not from traditional band or singer-songwriter frameworks.
• Belongs to genres that are inherently electronic in form and identity—Electronic tools aren't just decoration; they define the genre's sound, aesthetics, and creative process.
• Participates in the ecosystem of electronic music—The music is recognized within the genre's communities: written about in electronic music publications, featured in electronic festivals or venues, and placed within the genre's critical and historical narratives.
Two-Tier Inclusion: Main vs. Adjacent
To balance clarity with historical accuracy, artists are divided into two distinct but related categories:
Main Electronic Music ListArtists who meet all of the following criteria:
• A substantial portion of their work rooted in electronic music—The artist demonstrates a significant and sustained commitment to electronic music relative to their overall output. This is assessed proportionally rather than by sheer volume: either a major part of their catalog or their entire body of work, regardless of size. An artist whose full discography is electronic qualifies irrespective of catalog length.
• A stylistic and cultural identity aligned with electronic music—Their work is recognized, discussed, and celebrated within electronic music communities and criticism.
• A consistent presence within electronic genres—Their work demonstrates genuine engagement with electronic music's stylistic traditions and cultural practices, not merely the incorporation of electronic tools into other musical frameworks.
These are the central figures—the core canon of electronic music history.
Electronic-Adjacent ListArtists who meet one or more of the following criteria:
• Made pioneering or influential contributions to electronic music—Their innovations helped shape the genre's development, even if most of their work lies elsewhere.
• Whose primary artistic identity remains rooted in other genres (e.g., pop, rock, R&B)—While they may incorporate electronic elements, their cultural identity, audience, and creative approach align primarily with non-electronic traditions.
• Or who created only a limited number of electronic works that don't meet the main list criteria—They may have released influential electronic tracks or albums, but these form a minority of their catalog and don't represent a fundamental shift toward electronic music culture.
While these artists don't qualify for the main list, their influence or connection to electronic music's evolution makes them important contextual figures.
Implementation Guidelines
Historical Context
These evaluation criteria naturally consider the historical context in which artists worked. What constitutes "substantial electronic work" or "cultural alignment" has evolved alongside the technology and scene itself. An artist's commitment to electronic music in 1978—when synthesizers were expensive and specialized tools—represents a different kind of dedication than similar work created in 2018, when electronic production became widely accessible. The same standards apply across all eras, but their practical application acknowledges the technological and cultural landscape of each period.
Proportional Evaluation
The "substantial portion of work" rule applies fairly to artists with all career sizes. For artists with very small discographies (usually 1–2 main releases), having all of their work be electronic counts as a strong commitment to the genre—even if their overall output is small. This ensures that short but fully electronic projects are fairly recognized, while maintaining the standard that separates true electronic artists from those who only occasionally use electronic sounds. The cultural identity and connection to electronic music remain important for all artists.
Cultural Integration and Artistic Evolution
Artists belong on the main list when their use of electronics reflects more than just stylistic borrowing—it marks a genuine shift toward electronic music as a cultural and creative home. This includes artists who began in other genres (like rock or pop) but eventually made electronic production central to their identity, aligning themselves with electronic music’s aesthetics, scenes, and communities.
Retaining non-electronic elements—such as guitars, conventional song structures, or pop melodies—doesn't disqualify an artist, so long as their overall creative approach is grounded in electronic music culture.
Some artists undergo a clear evolution: they might start out in adjacent genres but ultimately transition into fully electronic territory. These artists qualify when:
• Electronic production becomes central to their creative process
• They actively engage with electronic music culture—through clubs, labels, collaborations, or performance contexts
• Their work is recognized and celebrated primarily within electronic music communities
• They are claimed by those communities as foundational or essential figures
Inclusion depends not just on sound, but on intent, context, and the degree to which the artist’s body of work contributes meaningfully to the tradition of electronic music.
Mixed-Genre Artists
Artists who move between electronic and other genres qualify for the main list only if they maintain a relatively consistent and substantial commitment to electronic music within their overall output. Those whose electronic works are isolated or occasional should be placed on the electronic-adjacent list, reflecting their limited engagement with electronic music culture.
Project-Based Evaluation
For collaborative projects or distinct artistic entities, evaluation focuses on the identity and output of that specific project rather than the individual members' work in other contexts. A collaboration that produces primarily electronic music may qualify for the main list even if the individual participants are primarily known for non-electronic work elsewhere.
Core Electronic Genres
These genres are inherently electronic in both form and cultural function. They were born from electronic instrumentation, shaped by club and studio culture, and sustained by dedicated communities of producers, DJs, and listeners. Artists working substantially within these genres almost always have a clear, primary identity as electronic musicians, making their inclusion straightforward. Together, these genres form the foundation of the electronic music tradition.
Progressive Electronic
Developing in the 1970s, progressive electronic was one of the first fully formed electronic music genres—built around synthesizers, sequencers, and tape manipulation rather than traditional rock instrumentation. Often associated with Germany’s “kosmische musik” (cosmic music) movement, it favored longform structure, abstraction, and sonic exploration. Though not rooted in club culture, it laid the groundwork for ambient, synth-based new age, and early forms of techno and trance, serving as a launchpad for many of electronic music’s most visionary artists.
House
Rooted in Chicago's underground club scene of the early 1980s, this style features steady four-on-the-floor rhythms, warm basslines, and soulful vocals or samples. It blends electronic production with disco, funk, and gospel influences to create an uplifting, dance-centered sound. Over time, it gave rise to key subgenres such as deep house, acid house, ambient house, progressive house, tech house, and electro house. Cultural centers like Chicago, New York, Ibiza, and London played vital roles in establishing it as a cornerstone of global dance music.
Techno
Originating in Detroit in the early 1980s, techno is defined by its repetitive 4/4 beats, synthetic timbres, and an emphasis on futuristic, machine-driven sounds. It often features hypnotic rhythms, minimal melodic elements, and driving basslines designed for dancefloor immersion. The genre sparked numerous subgenres including minimal techno, ambient techno, dub techno, and acid techno. Detroit, Berlin, and other global scenes helped make techno a defining and influential force in underground club culture.
Trance
Known for its hypnotic rhythms, emotional breakdowns, and soaring melodies, trance creates immersive soundscapes that evoke a sense of journey and euphoria. Emerging in the early 1990s in Germany and the UK, the style quickly became a staple of global dance culture. Key subgenres—progressive trance, uplifting trance, and psytrance—offer varied tempos and moods. Strongly associated with large-scale festivals and dedicated club scenes, it remains one of electronic music's most popular and transcendent forms.
Hardcore
Evolving in the early 1990s as a faster, harder, and more aggressive form of electronic dance music, this style is defined by rapid tempos often exceeding 160 BPM, distorted kick drums, and energetic breakbeats. It encompasses several subgenres such as breakbeat hardcore, gabber (or gabba), and happy hardcore, each with its own stylistic nuances. Originating primarily from UK and Dutch rave scenes, it's known for its intense, relentless energy and raw, sometimes abrasive sound.
Drum & Bass / Jungle
Featuring rapid breakbeats and powerful, deep basslines, this style originated from the UK rave scene in the early 1990s, blending dub, early hardcore, and hip-hop into high-energy rhythms that drive dance floors. The genre is known for its complex drum patterns, dynamic low-end, and occasional atmospheric or melodic elements. Jungle, an early form, emphasizes chopped-up breakbeats and reggae-inspired samples, while drum & bass evolved into a hugely influential cornerstone of modern electronic music with numerous substyles and production approaches.
Eurodance
A vibrant European style from the late 1980s and early 1990s, eurodance combines house, techno, and pop elements and is known for catchy melodies, driving beats, and prominent synthesized basslines. It often features a mix of female sung choruses and male rap verses. Eurodance played a key role in popularizing electronic dance music globally throughout the 1990s, blending accessibility with energetic club appeal. Despite its commercial orientation, eurodance stands as a legitimate and influential branch of electronic music culture.
Downtempo / Trip-Hop
Laid-back and rhythmically rich, this style of electronic music emphasizes slower tempos, atmospheric textures, and often features hip-hop-inspired beats, jazz samples, or soulful vocals. Emerging in the 1990s as a counterpoint to dancefloor-oriented styles, it cultivated a reflective mood suited for headphones and lounges rather than clubs. Downtempo and trip-hop are closely related in tone and structure, with trip-hop typically leaning darker and more beat-driven, rooted in the UK's post-rave and alternative scenes.
IDM (Intelligent Dance Music)
Emerging from the UK in the early 1990s, this style of electronic music is characterized by complex rhythms, experimental sound design, and unconventional structures. It often prioritizes intricate listening experiences over straightforward danceability, blending elements of ambient, techno, and breakbeat with a cerebral, avant-garde approach. Closely tied to independent electronic scenes and pioneering labels, it represents a thoughtful and boundary-pushing branch within electronic music.
UK Garage
Emerging in the UK during the mid-1990s, UK garage is a club-driven genre defined by shuffling rhythms, syncopated hi-hats, vocal chops, and deep basslines. Influenced by US garage house, jungle, and R&B, it developed into a slick, soulful sound with rapid grooves. Subgenres like 2-step, speed garage, and vocal garage emphasize rhythm and atmosphere in distinct ways. UK garage was crucial to London's underground scene and directly laid the foundation for later styles like grime, dubstep, bassline, and UK funky.
Big Beat
A fusion of breakbeats, rock-influenced intensity, and electronic sampling, this genre gained major popularity in the 1990s. Known for its heavy use of distorted loops, funk and hip-hop samples, and aggressive rhythms, it was designed for both clubs and mainstream appeal. Often cinematic and high-octane, big beat became a festival staple and a bridge between underground rave culture and commercial success.
Dubstep
Originating in South London in the early 2000s, this bass-heavy genre is defined by syncopated drum patterns, deep sub-bass frequencies, and dark, atmospheric textures. It blends elements of UK garage, dub, and drum & bass. In the 2010s, an aggressive offshoot known as brostep emerged—featuring louder, more abrasive sounds—which gained massive global popularity and brought the genre to mainstream audiences worldwide.
Semi-Core / In-Scope Hybrid Genres
These genres either originate from, or are closely intertwined with, the lineage of electronic music. However, artists within these genres often have more varied musical identities, and their connection to electronic music may not be primary or consistent. Inclusion of artists from these genres is therefore determined on a case-by-case basis, weighing the extent to which their work embodies a substantial and sustained electronic music identity—not only in instrumentation but also in aesthetic intent, cultural alignment, and influence within electronic music traditions. Many artists within these genres do qualify for the main list—particularly when electronic production and culture are central to their work—while others may be better categorized as electronic-adjacent depending on the context.
Krautrock
Developing in late 1960s Germany, krautrock blended rock instrumentation with experimental electronics, repetitive rhythms, and avant-garde sensibilities. This movement included the electronic-focused "kosmische musik" subset and proved seminal to electronic music's development, spawning the Berlin School and inspiring ambient, progressive electronic, and dance styles. Artists qualify when demonstrating sustained electronic experimentation beyond traditional rock structures—particularly those who established foundational electronic aesthetics. Excludes guitar-driven acts where electronics remain secondary.
Synthpop / Electropop
Originating in the late 1970s and early 1980s, synthpop introduced electronic sounds to popular music. The genre played a crucial role in bringing synthesizers and electronic production into the mainstream, paving the way for later electronic dance styles. While it blends traditional pop and rock songwriting with electronic elements, artists qualify only when electronic instrumentation and aesthetics are core to their musical identity and they are culturally tied to electronic music scenes—especially those who helped shape the culture. Excludes synth-heavy pop or rock acts where electronics are mainly ornamental or cultural ties to electronic music are limited.
Electro
Emerging in the early 1980s, electro is a rhythm-driven genre built around drum machines, synthesizers, and robotic or vocoder-treated vocals. It has strong ties to both early hip-hop and electronic club scenes, often featuring syncopated beats and futuristic textures. While fully electronic in sound, electro's origins in funk and hip-hop mean many of its foundational artists operated outside the traditional boundaries of electronic music culture. For this reason, it is classified as semi-core: artists are included when their work shows a sustained, culturally grounded connection to electronic music's creative lineage—not just in tools, but in community and context.
Electro-Disco
Building on disco's legacy, this style embraced synthesizers, drum machines, and electronic production to create futuristic, club-focused sounds. Key subgenres include Hi-NRG, Italo-disco, and space disco. Artists are evaluated on their electronic commitment rather than commercial success—those whose work is fundamentally electronic in conception and execution qualify for inclusion, regardless of mainstream appeal. Since disco culture provided the foundational context for early electronic dance music, electro-disco artists with clear electronic identity should be evaluated by the same criteria as other electronic music pioneers.
Freestyle
Originally rooted in electro, club, and DJ culture—particularly within Latino and urban U.S. communities—freestyle emerged in the early to mid-1980s, characterized by syncopated rhythms, melodic vocals, and emotionally expressive themes centered on love and heartbreak. Many key freestyle artists also produced significant work in dance-pop, R&B, and Latin pop, often leading to their classification primarily within those genres. Therefore, only artists whose output maintains a strong electronic production identity and remains closely tied to DJ-driven, club-oriented scenes and electronic music culture are considered in-scope.
Miami Bass
Arising in the mid-1980s in Miami, this genre is marked by heavy use of Roland TR-808 drum machines, booming bass, and fast, syncopated rhythms. Rooted in hip-hop and electro traditions, Miami bass developed a distinctive party and dancefloor culture, especially within Southern U.S. urban communities. While some acts lean more toward hip-hop, others incorporate strong electronic production and align closely with DJ-driven, club-oriented scenes—including developments like techno bass. Inclusion is case-by-case, with artists qualifying when their work demonstrates a clear electronic music identity consistent with bass-driven electronic styles.
Industrial
Developed in the late 1970s and early 1980s in the UK and continental Europe, this genre fused experimental electronics with transgressive themes and abrasive textures. Industrial's use of sampling, noise, and unconventional sounds significantly influenced later electronic genres. It is considered in-scope when electronic production is central to an artist's sound—especially in subgenres like EBM, electro-industrial, aggrotech, and industrial techno. Artists whose work is defined more by guitars, rock structures, or metal aesthetics—particularly within industrial rock or metal—are excluded unless their output reflects a sustained and culturally grounded engagement with electronic music traditions.
Ambient
Closely tied to electronic music through its use of synthesizers, studio techniques, and textural experimentation, ambient emphasizes atmosphere and tone over rhythm or traditional structure. While many works in the genre are fully electronic, others incorporate acoustic instruments or hybrid methods. As a semi-core genre, inclusion depends on whether an artist's ambient output is primarily electronic in its tools and identity, and culturally aligned with electronic music scenes. Artists whose ambient work is chiefly acoustic or rooted in classical, meditative, or sound healing traditions are excluded.
New Age
Emerging in the late 1970s and gaining popularity in the 1980s, new age music developed mainly in the U.S. and Europe as a genre focused on relaxation, introspection, and spiritual reflection. It draws from ambient, minimalism, and global traditions. Artists are included when their work prominently features electronic synthesis, ambient textures, and digital soundscapes. Excludes variants rooted in acoustic instrumentation, meditative or soft jazz styles, or classical-adjacent traditions—especially when electronic elements are secondary and the artist aligns more with wellness, spiritual, or therapeutic scenes than electronic music culture.
Alternative Dance / Indietronica
These hybrid genres blend indie rock, pop, and electronic elements, combining band instrumentation with synthesizers, drum machines, and digital production. Alternative dance emerged in the late '80s by merging post-punk with club rhythms, while indietronica followed with a more introspective, DIY approach and layered electronic textures. Though rooted in rock and pop traditions, both helped bridge independent music and electronic production, expanding electronic music's cultural reach. While not fully electronic, artists may be included if their work shows sustained, meaningful engagement with electronic tools and culture.
Chillout / Lounge / Balearic
Encompassing relaxed, often beat-light electronic styles designed for ambient or casual listening rather than the dancefloor. These genres draw from diverse influences, combining downtempo rhythms, eclectic samples, and atmospheric soundscapes. Originating partly from Balearic island DJ culture, chillout and lounge emphasize mood, texture, and a laid-back vibe. While connected to electronic music's lineage, they occupy a semi-core space due to their varied use of electronic and acoustic elements and less direct focus on club-oriented dance rhythms.
Instrumental Hip-Hop
Built on the legacy of sampling, drum machines, and loop-based composition, instrumental hip-hop blurs the line between beatmaking and electronic production. While its roots lie in hip-hop, many producers operate within electronic music spaces—particularly those influenced by downtempo, trip-hop, and glitch aesthetics. Artists qualify when their work emphasizes electronic manipulation, innovation in sound design, and alignment with beat scenes, DJ culture, or electronic performance contexts. Those whose output is primarily analog, sample-based, or oriented toward traditional hip-hop audiences may fall outside scope.
Experimental / Avant-Garde
Includes artists focused on sonic innovation and unconventional structures within the electronic underground—styles like glitch, noise, and electroacoustic improvisation rooted in club, DIY, and underground scenes since the late 20th century. Inclusion depends on sound and context: artists tied to electronic labels, clubs, or underground festivals qualify, while those linked mainly to academic institutions, concert halls, or formal research generally do not. This distinction separates popular experimental electronic music from academic or concert composition.
Grime
Originating in early 2000s East London, grime is a high-intensity, MC-driven genre rooted in UK garage, jungle, and dancehall, with tempos around 140 BPM and aggressive, syncopated electronic production. While lyrical delivery is central, grime's beats—built from stark synths, square waves, and minimalist arrangements—reflect its deep ties to electronic music's underground culture. Though it overlaps with rap traditions, grime artists may be included when their work is embedded in electronic production techniques and scenes, particularly through independent releases, pirate radio, and club-driven contexts.
Film Music / Video Game Music
Artists are included only if they have a significant identity as electronic musicians beyond composing soundtracks. While many game and film composers use synths, sequencers, or chiptune/8-bit techniques, those primarily known for soundtrack work occupy a distinct cultural space and are generally excluded. Artists who combine soundtrack work with broader electronic production, performance, or cultural influence may also qualify. This reflects the broader principle that electronic instrumentation alone does not confer genre identity without active engagement in the creative and cultural ecosystem of electronic music.
Peripheral / Out-of-Scope Genres
These genres lie outside the popular electronic music tradition and are excluded by default. Artists are included only when they exhibit a substantial, consistent, or foundational engagement with electronic music—stylistically, culturally, and historically.
Classical and Academic Electronic Music
Musique concrète, electroacoustic composition, and computer music—exemplified by Pierre Schaeffer, Karlheinz Stockhausen, and Max Mathews—arise from a distinct classical and avant-garde tradition. These works are primarily created for academic or concert settings, with cultural contexts and audiences separate from popular electronic music. Although foundational to the development of electronic sound, they fall outside this project's focus on popular, culturally integrated electronic music. These composers deserve recognition through a dedicated framework or ranked list highlighting their experimental and academic influence—offering a more complete historical picture alongside the popular electronic music list.
Jazz
While some jazz artists have incorporated synthesizers, samplers, and electronic effects—especially in fusion, avant-garde jazz, and other experimental forms—jazz remains rooted in acoustic instrumentation, improvisation, and a distinct performance-based tradition. Most jazz-influenced styles maintain this lineage and do not meaningfully engage with the production-based or club-driven culture of electronic music. An exception is nu jazz, which blends jazz elements with downtempo, house, and other electronic styles, and may be considered for inclusion when the electronic aspect is culturally and stylistically central.
R&B / Funk
Despite the prominent use of electronic instrumentation pioneered by artists like Stevie Wonder, George Clinton, and Prince, R&B and funk are generally excluded, as they originate from a distinct musical lineage. Styles such as synth-funk and boogie—particularly the latter as a key post-disco form—were influential on electronic music but are typically treated as peripheral. Later developments like new jack swing and other contemporary R&B styles also made extensive use of electronics but remained culturally anchored in R&B. Acid jazz, sometimes viewed as a funk offshoot, occasionally overlaps with electronic music through club-oriented production, but its roots in jazz and funk keep it largely out of scope.
Pop
While synthpop, freestyle, and other electronic-leaning pop styles may be included when meaningfully connected to electronic music culture, most mainstream pop—including dance-pop, europop, and eurodisco—falls outside the scope. These genres prioritize melodic accessibility and commercial appeal over deeper cultural alignment with electronic music traditions. Artists and producers who use electronic tools but remain rooted in pop conventions—often with little engagement in electronic music's underground, experimental, or club-based evolution—are excluded.
Rock
Rock music typically falls outside the scope of popular electronic music, as most artists and subgenres remain rooted in guitar-driven, band-oriented traditions. Subgenres such as progressive rock, new wave, and industrial rock/metal often incorporate electronic elements, but these are usually secondary to a core rock identity and are therefore mostly excluded. Notable exceptions include the previously mentioned krautrock, alternative dance, and indietronica—hybrid styles that more integrally blend rock and electronic music—and, again, may be included when electronic production plays a defining role in their sound and cultural positioning.
Rap / Hip-Hop
While the aforementioned hip-hop–related styles—electro, Miami bass, instrumental hip-hop, and grime—are recognized for their strong stylistic and historical ties to electronic music, the vast majority of rap and hip-hop lies outside the popular electronic tradition. Artists are included only when their work shows meaningful engagement with electronic music stylistically, culturally, and historically. Traditional styles like boom bap, gangsta rap, and conscious rap belong to a separate cultural lineage despite electronic production tools. Even club-oriented variants like crunk and trap, which rely heavily on synthesizers and electronic production, are generally aligned with hip-hop culture and typically excluded.
Why This Structure Matters
This dual approach honors genre integrity while giving due credit to those who helped shape it. The main list represents the core of electronic music culture—artists whose work is essential to understanding the genre's aesthetic, technical, and cultural development. The adjacent list acknowledges the genre's boundaries, influences, and hybrid figures who may not be primarily electronic artists but whose contributions were nonetheless crucial to electronic music's evolution.
Electronic music is a genre defined by change, cross-pollination, and innovation. This framework preserves that spirit—fairly, clearly, and respectfully—while providing practical guidelines for inclusion that can be applied consistently across different eras, subgenres, and boundary cases.
The goal is not to create artificial barriers but to maintain meaningful distinctions that help us understand what makes electronic music culturally and aesthetically distinct, even as it continues to evolve and incorporate influences from across the musical spectrum.