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Ninja Tune also managed to ink a deal with the aforementioned Brainfeeder, bringing releases from Flying Lotus, Thundercat, and others under the Ninja Tune banner during the ’10s. Even Kelis and Diplo have featured on the legendary label’s network of brands. From 2010 – 2019, Ninja Tune put on the likes of Peggy Gou, Tycho, Bonobo, Bicep, Machinedrum, Helena Hauff, ODESZA, and more. In fact, in 2020, the label will celebrate 30 years in business, spanning a myriad of releases and artists from all corners of the musical macrocosm. Ninja Tune has been a pillar in dance music for much longer than just this past decade. Brainfeeder regulars would go on to host one of Southern California’s most beloved running parties, Low End Theory, which saw LA’s beat scene rise to prominence over the course of Wednesday nights from 2006 to its final club night in 2018. The label has dexterously cemented itself as the authority on the outer fringes of hip-hop and electronic music. Oizo, TOKiMONSTA, Thundercat, and Kamasi Washington, Lotus’ rap alter-ego Captain Murphy, and more. Over the course of the last ten years, the imprint has hosted releases from the likes of Mr. The Collective also managed to move into event curation by the end of the decade with the highly in-demand ODESZA-curated SUNDARA festival that sprang up in the summer of 2019.Īnother twisted creative brainchild of LA’s Flying Lotus, Brainfeeder has commanded its own corner of the experimental sector for more than a decade now.

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ODESZA’s third full length LP, A Moment Apart officially landed on the duo’s own Foreign Family Collective in 2017, and would net them two Grammy nominations in 2018. The imprint has hosted releases from Jai Wolf, Louis Futon, RÜFÜS DU SOL, Robotaki, Kasbo, and more, coming together as an eclectic collection of sonic and visual media. While ODESZA‘s Foreign Family Collective isn’t exactly a traditional record label, and likely the youngest inclusion on this list, the artist collective has proven to be one of the premier creative outlets for some of electronic music’s current brightest. Together, they comprise Dancing Astronaut’s decade-end collection. In review of 2010 – 2019, the most important factors that shaped the decade were Artists of the Decade, Labels of the Decade, Albums of the Decade, and Most Impactful Moments of the Decade. Instead, we’re dividing the decade’s most deserving into a handful of unique categories. In effort to properly recognize the remarkable collection of events that has brought us here, we’re tweaking our typical end-of-the-year model. One master list couldn’t possibly reflect the decade in review. So now, as the single most important, historic, and certainly memorable decade dance music has ever seen draws to a close, we had to figure out a new way to break down how far the culture has come. Ten years ago our culture was creeping out of South London basements and New York warehouses, and now we’re performing at the Olympics. It’s been a wild ride through the 10’s, largely soundtracked by EDM’s global boom into a multi-billion dollar industry. Only 250,000 people were paying for a Swedish music streaming service called Spotify, and Billie Eilish was finishing up second grade.

For context-ten years ago, Electric Daisy Carnival was held in Los Angeles, not Las Vegas, where the Los Angeles Rams now play. At the breakneck pace by which dance music throttles through the stratosphere, the decade is ending in an entirely unrecognizable place from where it began. 2010 may as well have been a lifetime ago.

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