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The Boston Globe


Gold Panda’s outsider sound hits big

The quasi-instrumental genre known as “electronic music” has flourished through interrelated subcultures since the 1970s, when it reshaped everything about the disco boom. Since then, however, its mechanized flow has rarely spilled into mainstream American consciousness as it has this decade.

These days, TV comedians joke about the fractured industrial assault of dubstep, newspapers chronicle the latest spike in the electronic scene’s chronic drug problem, and, according to The New Yorker, giant Las Vegas resorts have recently discovered that booking big-name electronic DJs is more lucrative than running slot machines.

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