Article | Onlythebeat

6 things we've learned from 10 years of beatport

Friday, August 22, 2014
Erik Skoog

Beatport recently released the top genres for the last ten years by sales and gave some insight into the best-performing artists and tracks. An image is worth a thousand words, but I've boiled this one down to six main points. Take a look at the chart below and continue reading to find out what they are!

[caption id="" align="aligncenter" width="495"] Beatport's Genres by Year[/caption]

6 things we've learned from 10 years of beatport

1. The rise of deep house could indicate a maturity of the scene.

The constant rise of Deep House for the last 10 years could initially seem surprising, especially the spike since 2011 would be right around when I would consider the "EDM" boom to have started and and paved the way for what could be considered a formula that pays well. But after being hit really heavily with drop after drop for the past three years, that the community as a whole needs a break. Also, as the once causal listener's ear becomes more trained, they begin to desire for more than just a catchy, fun track that they can rage to. They want complexity and depth and subtlety.

Related: Why Deep House is here to stay

2. Some genres are naturally going to be more inclusive.

Beatport can't have every subgenre imaginable, so  lot of similar sounding music is going to end up being given the same tag. I have yet to hear a consensus on what constitutes as "big room," hearing it described both as a Dimitri Vegas/DVBBS popping (that sounds like it's being played in a big echoey room) and more like Alesso's uplifting festival sound (that is meant to be played in an arena...or big room?). Either way, both of those styles are going to end up in "Progressive House," which is going to include more variety than something like hardstyle (which isn't even represented).

[caption id="" align="aligncenter" width="646"] Top tracks, top tracks, top tracks[/caption]

3. Skrillex says hi back in 2011.

When Skrillex stepped onto the scene back in 2011, Dubstep exploded, and so did the sales on Beatport. [caption id="" align="aligncenter" width="564"] Apparently, he's too busy being a cartoon.[/caption]

4. Deadmau5.

According to Beatport, this is their top-selling tack of all time. I think Joel Zimmerman's a dick, but I really do love his his music. I know I'm not the only person to feel that way and that has to be part of why everybody wants him so badly. Whether it's his his upfront honesty, apparent apathy, or his relentless activeness on social media, there's probably a bit of correlation between his endearing DGAF attitude and: [caption id="" align="aligncenter" width="620"] Mouse King[/caption] For a lighter side of Joel, this surfaced earlier this year:

5. The raw data is important.

Actual number of downloads, download rates, unique users, traffic as a whole, price per download, price increases are all really important factors that aren't represented. Additionally, the huge piece missing is the demographic of who exactly is buying what music from Beatport. I'll admit that I'm not really one to actually pay for music. Porter Robinson's Worlds is the first album I've bought in years and that's only so I could get it on vinyl. Maybe those more interested in performing sets are those more likely to visit Beatport and pay for songs. What about all of those that buy their music from iTunes? Or who just run Spotify or Soundcloud all day? And then there are those who Shazaam Tiesto's entire set at a show so they can bittorrent all the tracks later.

6. The scene exists in a different world.

Access to the music, ease of production, rapidly developing the end, the electronic music scene and Beatport (and the internet in general) just isn't what it was ten years ago. Not only were there not as many artists producing songs in each genre, but nowhere near as many people knew about it. Everyone has everything at their finger tips at any given moment and producers are constantly experimenting with sound. New subgenres are constantly being split and created and discovered, there is just far more ways to interpret things than their used to be. Where is electro-house-dark-psy-trance-moobahtron-trap with raggcore cybergrind elements? This list sucks.

And to think that back in the day, everyone just called it techno.

What do you think?

Has Beatport hit the nail on the head or are their numbers totally off?

Let us know in the comments section.