In 1992 the album Artificial Intelligence was released, a compilation of music termed as "electronic listening music" by the label who released it, Warp Records. Since then, a number of artists and a growing number of fans have become interested in this rather obscure musical anomaly. Although now most commonly termed "Intelligent Dance Music," or IDM, the music is primarily intended for private, home consumption rather than dancing. Changing meters, complex rhythms, extremely different timbres: all of these characteristics help define IDM to some extent. IDM is also somewhat improvisational/aleatoric (thus often innovative), and often may be described as a type of popular art music (popular, in this particular context, is meant to indicate non-classical music intended for a particular audience for mass consumption) (Shapiro 171-72).

The term "dance" in Intelligent Dance Music actually refers to the use of the techniques and technologies of electronic dance music rather than implying that this is music to dance to. The complex rhythms and structures somewhat discourage physical release. The release is far more cerebral, similar to many contemporary classical electronic composers, who happened to have served as influences for artists working in this genre. Sometimes termed "Downtempo," some of the original thoughts on the function of this music revolved around the concept of post-rave music: music designed for the conscious mind to consume when the body is too exhausted to dance (Shapiro 172). In any case, sonic experiences, sometimes verging on the spiritual, are often the desired results sought after by these artists. There is an extreme sense of innovation which is multiplied by the incredible passion of these artists. Often working for as many as sixteen hours a day for their own self-indulgence (such as in the case of Squarepusher), these artists create electronic music on the realms of the avant-garde that somehow have this unique ability to capture the attention of even the most average music-listener for at least a track or two.

Drawing from a variety of influences, the eclecticism of IDM is often overwhelming. Many artists working in this genre have cited contemporary classical composers such as Iannis Xenakis, Karlheinz Stockhausen, Steve Reich and Philip Glass as influences. Additionally, these artists also draw from many other styles of music, sometimes incorporating elements of jazz, funk, hip-hop, rock, African music, pre-20th century classical music, among just about any other thinkable style. These artists are certainly not afraid to allow any kind of aural stimulation, musical or non-musical, to become an influence, or even a basis, for another work.

Hidden deep within the chaotic, interwoven rhythms and sounds lie certain characteristics that allow this music to have a unique appeal to a somewhat large and constantly growing audience. Concepts of syncopation and "groove," comparable to funk, jazz, or any other style of music that contains that sense of groove in a meter pattern of four, are clearly present in this type of music. However, these artists stretch and morph these elements, camouflaging them in order to create a rhythmic jolting effect. Perhaps drawing from hip-hop and dancefloor/rave techno, IDM tracks also often contain well-programmed bass designed to be experienced with a home or car audio system that has a subwoofer. Often utilizing non-musical source sounds and electronically manipulating them beyond recognition, this music contains a variety of incredibly different sounds, utilizing the full palette of aural colors available to any artist working with electronic music. All of these elements combine to form a music that is so incredibly different and sometimes difficult, yet often very approachable to a considerable audience that continues to grow.

Three IDM tracks, chosen because they epitomize this particular genre as well as clearly use the above mentioned elements, will be examined in detail in order to create better understanding of this unique style. Tracks and examples referred to throughout the paper will be made available for download as possible (of course, copyrighted tracks cannot be made available at this time--possibly at a later date).

Today's music world is unique compared to any other time in the history of music. It is an incredibly small music world, one in which anybody can have access to listen to anything they want. Because of this, music is evolving at a faster pace than it ever has. The advent of the integration of electronics in music in the 20th century has also created massive changes. Not including classical art music, which primarily focuses on the concept of pure art without mass consumption necessarily in mind, Intelligent Dance Music is one style of music which grows out of this sense of evolution and innovation directly. However, it has managed to draw a somewhat large and constantly growing audience. Therefore, IDM's exploitation of certain rhythmic and timbral characteristics hidden deep within the music must be connecting with audiences in some way. After the exploration and examination of the history and primary influences of this genre, these hidden musical characteristics become much more exposed, clearly functioning in such a way as to entice a strangely wide range of music listeners.

Tracing evolutionary lines through the infinite amount of musical styles and genres is often an incredibly difficult if not nearly impossible task. Tracing the evolution of Intelligent Dance Music is certainly no exception to this. Because the style often is defined by its extreme eclecticism, a large variety of influences exist. This section will focus on the primary historical events and influences that ultimately lead to the creation of this genre. However, it is important to realize that IDM is incredibly varied by its very own nature, and thus it is very difficult to make any concrete assumptions about its evolution or influences.