中国目前是90年代美国RAVE场景的翻版吗？

Is China’s Underground Scene Currently a Replica of the 1990s American Rave Scene?

中国的地下电子音乐土壤不算深厚，却也总能在不同俱乐部舞池中散发出不同的音乐风格。
China’s underground electronic music scene may not have deep roots, yet it consistently manages to produce a diverse range of music vibes within various club dance floors.

曾经作为中国深圳地下俱乐部场景的深度参与者，我们经常可以在同一场俱乐部的派对中听到不同的声音，这些声音并不被任何风格流派所局限。鉴于中国并非现代电子音乐的发源地，我们对西方电子音乐环境似乎有种不由自主的趋向 ，甚至默认作为现代音乐发源地之一的美国，才会拥有更加多元化、更加丰富的地下音乐场景。
Having once been deeply involved in Shenzhen’s underground club scene, we frequently encountered different sounds within the same club. Recognizing that China isn’t the birthplace of modern electronic music, we found ourselves naturally drawn toward the Western electronic music scene, particularly the United States, which is often regarded as one of the birthplaces of modern music. It was thought that the U.S. would have a more diverse and rich underground electronic music scene.

在各种机缘巧合下，我们又回到了美国南加州，这次决定比以往更加深入实地探访一番当地跳舞音乐场景。
Luckily, we found ourselves back in Southern California again. This time, we decided to explore even deeper into the local dance music scene.

南加州的电子音乐市场繁荣，是世界流行文化的风向标，同时也孕育出了一系列优秀的电子音乐制作人，如Truncate，Drumcell等。在参加了多次南加州当地的派对之后，我对我的期待产生了疑问：美国作为Techno和House的发源地，为什么几乎见不到像欧洲那样标志性的跳舞俱乐部？南加州的电子音乐文化，为什么主要靠着非法派对的主办方进行传播？作为现代音乐文化风向标的南加州，为什么喜欢风格分明的派对；而作为Rave文化还处在萌芽期的中国，却反而喜欢风格更多元化的派对？
Southern California’s electronic music scene is thriving and sets the trend for global popular culture. It’s also the birthplace of a range of outstanding electronic music producers and DJs, such as Truncate and Drumcell. After attending several local parties in Southern California, I began to question my expectations: Why, despite the United States being the birthplace of House and Techno, do we rarely see iconic and famous dance clubs like to those in Europe? Why does the dissemination of underground electronic music culture in Southern California rely heavily on the organizers of outlaw parties? While Southern California is known as a modern music culture trendsetter that often favors parties with distinct genres, why does China, still in its early stages of rave culture, tend to lean towards parties that embrace greater genre diversity?

带着种种疑问，我们找到了南加州本地的Techniche厂牌主理人Myxzlplix，开启了本场采访。
With numerous questions in mind, we reached out to Myxzlplix, the owner of the local techno collective label Techniche in San Diego, California.

▎Mixmag China (采访人：Jinqi) = J

▎Techniche (嘉宾：Myxzlplix) = M

01 关于你自己 [About Yourself]

J：你是如何对Techno或者电子舞曲产生热情的？又是什么促使你开始参与本地的音乐场景呢？
How did you develop a passion for techno or electronic dance music in general? What motivated you to contribute to the local dance music scene?

M:我从事DJ和制作已经差不多30年啦，而且一直都在San Diego（加州南部城市）做音乐。
I’ve been DJing and producing for over 30 years, and I’ve always been based here in San Diego.

我对电子舞曲产生兴趣大概是从上世纪90年代Rave运动开始的。那个时候我还很年轻嘛，所以Rave这种东西对我来说特别新奇。你知道EDC吧？那个年代的EDC比起现在要地下很多。去之前你甚至都不知道地点在哪，需要你打电话给他们，他们才会在电话里告诉你地址在哪里，然后你就跟着他们的指示走就可以。地点每次都不一样，有时候可能会在天桥底下，有时候可能会在非常偏远的地方。总之就是，到了地方之后你才会发现是另一番天地。
I started in the ’90s rave scene here, which was in my opinion. It was new, it was fresh. It was before a lot of the bigger raves now, like EDC. Back in those days, EDC was much more underground compared to what it is now. Before attending, you didn’t even know the location. You had to call them, and they would tell you the address over the phone, and then you followed their directions to get there. The location changed every time; sometimes it might be under a bridge, and other times it might be in a very remote place. In any case, when you arrive at the location, you will discover a completely different world.

我在很多Rave派对里放过歌，也在一些俱乐部里演过。那会我记得我放House比较多，但现在我放歌基本上以Techno为主。一直以来我都很喜欢这两个风格，所以我非常热衷于在这两种风格之间来回穿梭。虽然现在还是会偶尔放一放House，但Techniche这个厂牌还是更偏向于Techno多些。
I’ve played at some rave parties, and I also played in clubs where I was playing more House music, but nowadays, my sets are predominantly Techno. I love both, so I’m very passionate about switching between the two. Although I occasionally still play House music, the Techniche label tends to lean more towards Techno.

至于Techniche这个厂牌是怎么成立的，说实话，我主要就是觉得自己创建一个厂牌是一件挺有意思的事情。我参与放歌和制作也蛮久了，所以心里一直有一个要创办一个厂牌的想法。
As for how Techniche was founded, to be honest, I just thought that starting a label would be an interesting thing. I’ve been involved in DJing and producing for quite some time, so I’ve always had the idea of starting a label in the back of my mind.

在我创办Techniche之前，我做的歌主要都发在其他厂牌上。虽然这样也很好，我也很感激主理人们给我这些发歌的机会，但那些厂牌往往只是接受了我的作品，并没有进行宣传呀运营呀之类的。我本以为在那些厂牌发歌会对我的事业发展和知名度有所帮助，但实际效果感觉并不怎么样，于是我就干脆自己创办了Techniche。
Before I started Techniche, I was doing remixes and tracks for other labels. I’m grateful for the opportunity, but sometimes they just had the tracts but didn’t invest in marketing and promotion. So, what I believed would boost my career and exposure didn’t really help. The more I experienced that, the more frustrated I became, and eventually I decided to take matters into my own hands.

02 关于Techniche [About Techniche]

J：可以跟我说说Techniche是如何一步一步走到现在的吗？期间你都遇到过什么困难，而你又是如何解决的呢？
Can you tell me how Techniche has evolved until now? What difficulties did you encounter, and how did you overcome them?

M: 大概是在2016年左右吧，我最开始只是想找个地方放放歌。因为那时候我作为DJ还比较活跃，到处演出，但那时候真没什么像个俱乐部的地方。Techno在当时还是很地下的，有很多非法派对之类的，但对我来说就好像少了点什么东西。
It was around 2016, I believe, when I initially just wanted to find a place to play music. At that time, I was quite active as a DJ, performing here and there, but there wasn’t a “proper club scene”. Techno was still quite underground, with many outlaw parties and such, but it felt like something was missing for me.

这里没有像柏林Tresor那样有固定风格的俱乐部 (就是那种，虽然会请guest DJ，但核心风格保持一致的俱乐部)。这里本地（San Diego）的俱乐部，大部分都是以promoter为重，promoter请什么样的guest DJ，那么今晚的主题就会跟着guest DJ走。可能今晚是Techno，明晚就是progressive House，这都是不固定的。所以，对我来说，Techniche创办之初只为了让我和同样喜欢Techno的朋友们有个可以一起放歌，一起跳舞，一起social的地方。
There weren’t clubs here with a consistent style like Tresor in Berlin. For the most part, local clubs in San Diego were promoter-driven, meaning the club’s vibe for the night really depended on the guest DJ booked. It could be Techno tonight and Progressive House tomorrow. So, when I initially started Techniche, it was mainly about providing a place for me and my friends who enjoyed Techno to come together, play music, dance, and socialize.

我有一个合作伙伴叫John，是那会我在外面到处放歌的期间认识的，我觉得他真的很有才华。当时他没有太多的演出机会，当然，我也没有。但我一直以来都渴望拥有一个属于自己的地方来传播自己的声音。所以John和我一起创办了Techniche。我们开始每个月都办活动，然后开始认识一些我之前不认识的人。坦白讲，当时我和San Diego的很多其他音乐组织都不太熟悉。我只是知道有一部分人在做Techno派对，但都是在非常偏僻的地方做，没有人在俱乐部做。我只是希望有个一直都能去的地方，人们可以交流，可以认识新朋友。
I have a partner, John. I met John while I was DJing around during that time. He was very talented. At that point, neither of us had many opportunities to perform, but I had always yearned for a place for Techno lovers. So, John and I started Techniche. We started hosting events every month and began to meet people I hadn’t known before. To be honest, at that time, I wasn’t very familiar with many other promoters in San Diego. I just knew that some people were throwing Techno parties, but they were in very underground locations, not in clubs. I just wanted a place that people could go to regularly, where they could socialize and make new friends.

刚创办那会，我记得EDM还很火，有很多很多音乐节，但那并不是我想要的。我想要的是真正俱乐部那样的感觉(在中国国内你可以理解为夜店和俱乐部的区别)，像纽约Body & Soul（一个纽约的老牌俱乐部）那样具有鲜明特色的俱乐部。之后就碰上了John，促成了这个愿望的实现。Techniche创立伊始，一开始我们只是为了自己，久而久之我们就开始邀请其他本地DJ加入，一切都顺理成章了。
When I started Techniche, I remember that EDM was still popular, and there were lots of music festivals, but that wasn’t the vibe I wanted. What I wanted was the authentic nightclub experience, character-filled clubs like New York’s Body & Soul. Then I met John, and it set the stage for realizing this dream. At the outset of Techniche, it was initially just for ourselves, but as time went on, we began inviting other local DJs to join, and everything fell into place naturally.

而且对我自己来说，我总是想要更上一层楼。我有很多“榜样”，比如Drumcode。我会经常去关注Drumcode在做什么。“哇，他们有自己厂牌，自己的活动，还有自己的电台节目”。就这样，我们也开始做自己的厂牌和电台了。其实我一开始并不想做音乐厂牌，主要是，我不知道怎么做，也没人教我。但我有这样一种信念——当我在别的厂牌发歌的时候，起码我可以认识到他们哪里做得不好，因此在做我自己的厂牌的时候，我就可以避开这些坑，然后做得更好。
Moreover, personally, I always aimed to take things to the next level. I had many “example models,” like Drumcode. I would often keep an eye on what Drumcode was doing. “Wow, they have their own label, their own events, and even their own radio show.” So, we started our own label and radio show as well. Initially, I didn’t intend to start a music label mainly because I didn’t know how and had no one to teach me. But I had this belief — when I was releasing music on other labels, at least I could identify areas where they weren’t doing well. So, when starting my own label, I could avoid those pitfalls and do better.

所以我们就开始做音乐厂牌了，就这么自然而然地做了。你知道吗，我们的标志也是我们的一部分。因为我的本职工作是平面设计相关的，所以当我做Techniche的活动时，我参考了我从我的客户那里学到的一些元素，同时也在实践中尝试。我看很多人都做活动，但大部分都没有鲜明的品牌概念：没有标志也没有辨识度。所以我们就做了一个“标志”，我们开始为Techniche的活动引入宇航员和太空的元素。
So, we started this, and it just happened naturally. You know, our logo is also a part of us. I have a background in graphic design. So when I was doing events for Techniche, I drew from some elements I had learned from my clients and experimented with them. I saw a lot of people doing events, but most of them didn’t have a distinct brand concept: no logo and no identity. That’s why we created a “logo” and introduced astronaut and space elements into Techniche’s events.

起初我们只是觉得这样看起来很酷，哈哈哈。但后来，我们开始在宇航员主题中找到了意义：我们将宇航员视为探险家，意味着我们在做一些与众不同的事情，比如开拓了Techno在San Diego的新领域，就像宇航员在太空中探索不同的领域和空间一样。我们所做的一切，都是尝试。我们不会事先想太多，我们敢于冒险。
At first, we just thought it looked cool. But later on, we found meaning in the astronaut theme: we saw astronauts as explorers, signifying that we were doing something different, like pioneering new territories for Techno in San Diego, much like astronauts exploring different realms and spaces in outer space. Everything we did was an experiment. We didn’t overthink things in advance; we were willing to take risks.

J：有一个我比较好奇的问题，既然你提到了你希望有一个可以让自己和朋友们一起放歌跳舞的地方，为什么不选择自己开一家俱乐部呢？
I have a question out of curiosity. Since you mentioned that you wanted a place where you and your friends could play music and dance together, why didn’t you choose to open your own nightclub?

M: 其实几年前，有一个空出来的场地在售卖，当时我和朋友就想着要不要买下来做活动，但最终还是放弃了这个选择。
Actually, a few years ago, there was an available space for sale. And at that time, my friends and I were considering whether to buy it to host events. However, we ultimately decided against it.

开俱乐部需要付出很多努力，真的是很多努力，还有很多很多钱，所以我放弃了开俱乐部的想法。一旦拥有了一家俱乐部，那么每晚，至少隔晚以及周末都得想办法搞活动，这是相当大的责任。当俱乐部老板和做活动promoter是完全不一样的。你一旦成为了俱乐部老板，那你一辈子就是这个俱乐部的老板。
Opening a club requires a tremendous amount of effort – I mean, a lot of effort – not to mention a substantial amount of money. So, I abandoned the idea of opening a club. Once you own a club, you kind of have to organize events almost every night, at least every other night, and on weekends. It’s a great responsibility. Being a club owner and an event promoter are entirely different roles. Once you become a club owner, you’re the owner of the club for life.

我已经做了活动厂牌、音乐厂牌还有电台节目这么多的事情，对我来说已经足够了。
I’ve already taken on the roles of an event promoter, a music label, and a radio show host – that’s already plenty for me.

03 关于南加州的电子音乐场景
[About the Electronic Music Scene in Southern California]

J：San Diego因气候宜人而闻名于世，这里的人热衷于户外活动，当然也包括在户外跳舞，因此本地多喜欢适合户外播放的House音乐。为什么你会在这里成立以Techno风格为重点的活动厂牌，而不追随更受本地欢迎的House风格呢？
San Diego is known worldwide for its pleasant climate, and people here are enthusiastic about outdoor activities, including dancing. House music, which is more suitable for outdoor chill settings, is generally favored by the locals. What led you to establish a techno-focused collective label in San Diego instead of the more popular house genre?

M: 确实，在San Diego，House音乐挺火的。比如fngrs crssd（San Diego本地的的一个House & Techno promoter）的那些人，他们做得很棒，每年都有几场很大的音乐节（指CRSSD fest），他们背后是有很多钱以及运营手段去支持的。当然，有很多人都喜欢去这种户外的音乐节，但他们主要是奔着音乐节的氛围去参加的。他们可能不怎么认识Techno的那些艺人，但他们还是会去。不过CRSSD能够book Techno艺人我认为已经很棒了，因为从某种意义上来说，这样可以提升观众对Techno的认知，未来就可以让更多的人接受并喜欢这个风格。
Indeed, House music is quite popular in San Diego. For instance, people from fngrs crssd do a fantastic job. They organize several large music festivals every year, like CRSSD Fest, and they have the financial resources and marketing teams to support them. Many people enjoy attending these outdoor music festivals primarily for the festival vibe. They might not be very familiar with Techno artists, but they still go. However, I think it’s great that CRSSD books Techno artists because, in a way, it helps raise awareness of Techno among the audience, which could lead to more people embracing and enjoying the genre in the future.

不过对于我们来说，我们不太想那样做，我们不是那种类型的组织，有些组织就只做活动。当然啦，那样也不错，但对于我们来说，因为我们受到了Drumcode的影响，有自己的艺人、音乐厂牌和电台节目，而不单单只是一个活动主办方。
However, for us, we didn’t want to do that; we’re not that type of organization. Some organizations focus solely on events, and that’s perfectly fine. But for us, because we were influenced by Drumcode, we wanted to have our own artists, music labels, and radio shows, not just be event promoters.

J：加州一直有一条很奇怪的法律，就是酒精宵禁（即凌晨2点之后禁止售卖酒精饮品，俱乐部最晚一般也只能开到凌晨两点）。像之前你提到的，这里没有什么像柏林Tresor和纽约Body & Soul这样标志性的俱乐部，你认为酒精宵禁是否是造成南加州无法拥有标志性俱乐部的原因之一呢？
California has an “alcohol curfew” which prohibits alcohol sales after 2 a.m. Do you believe the curfew is a major factor preventing Southern California from having iconic underground music clubs?

M:这里确实没啥标志性的俱乐部。纽约、芝加哥、洛杉矶或许有一些，但是跟欧洲相比实在也不算多。我觉得这确实可能和加州这个奇奇怪怪的酒精宵禁有关系，其他国家就没有这个规定。我不知道为什么加州要这样做，但从一定程度上来说肯定妨碍了俱乐部的发展，也就跟着妨碍了俱乐部音乐的发展。
There certainly aren’t many iconic clubs here. New York, Chicago, and Los Angeles may have a few, but compared to Europe, it’s not that many. I do think it could be related to California’s peculiar alcohol curfew. Other countries don’t have such regulations. I’m not sure why California has this rule, but to some extent, it has hindered the development of clubs and consequently the development of club music.

在此之前也有过类似的讨论，就是关于“为什么美国电子音乐市场没有欧洲那么大”。我个人认为这很大程度上与美国的国土面积太大以及地域广阔有关。美国大部分大都市都位于沿海地区或者边境线上，比如洛杉矶、旧金山、纽约和芝加哥，但美国中间几乎没什么人住，要么是一望无际的大平原，要么是此起彼伏的山脉，因此使得文化传播变得异常困难，一切都分散开了。但在欧洲，国家与国家之间都紧挨着，每个国家人口聚集的大城市都离得很近，但美国却不是这样。我认为这也是造成美国缺乏标志性俱乐部的一个重要原因。
There have been discussions about why the electronic music market in the United States isn’t as big as it is in Europe. Personally, I believe it’s largely due to the vast geographical size and diverse landscapes of the United States. Most big cities in the US are located along the coastlines or near the borders, such as Los Angeles, San Francisco, New York, and Chicago. In contrast, much of the US interior is sparsely populated, consisting of vast plains or mountain ranges, making cultural dissemination exceptionally challenging and fragmented. But in Europe, countries are adjacent to each other, and big cities with concentrated populations are geographically very close. However, this isn’t the case in the United States. I think this is also a significant reason why the US lacks iconic clubs.

J：所以我们也可以理解为，南加州的地下活动总是围绕着promoter展开，而不是围绕着俱乐部展开吗？
So, we can also say that in Southern California, underground events tend to be hosted by promoters rather than club owners, right?

M: 因为我们场景的起源可以追溯到90年代的rave派对，所以南加州的Techno活动喜欢在仓库和户外场地办，而不是在俱乐部里办。对于Techniche来说，我们一直想在俱乐部里做活动，但这并不常见。然而由于一些物流方面的原因，我们也有机会在正儿八经的俱乐部里开始做活动了。
Because of our roots starting in the 90’s rave days, Techno events in SoCal tend to be hosted in warehouses and outdoor spaces vs. nightclubs. With Techniche, we wanted to host our events in clubs which wasn’t the norm, but we had opportunities to host our events in proper nightclubs for logistical reasons.

俱乐部和仓库派对的概念和意义有所不同。人们参加仓库派对，通常只是为了纯粹、尽情地跳舞。但是去俱乐部的人们往往既是为了跳舞也是为了社交，有些人甚至觉得俱乐部就像是自己的第二个家一样，很大程度上也是因为俱乐部的选址往往比仓库派对要安全。这也是我创办Techniche，并选择在俱乐部举办活动的原因。
The concepts and meanings of clubs and warehouse parties are different. People typically attend warehouse parties for the pure joy of dancing without any type of inhibitions. However, those going to clubs often do so for both dancing and socializing. For some, clubs even feel like a second home, largely because club venues tend to be safer and geographically more consistent than warehouse parties. This is also why I started Techniche and chose to host events in clubs and other small venues. 

04 关于中美场景的差异
[About the Difference of Electronic Music Scene between the United States and China]

J：因为中国没有酒精宵禁之类的法律，俱乐部也可以营业到很晚，因此近几年的俱乐部像雨后春笋般地冒了出来。可是，在中国真正扎根下来常年不倒的俱乐部数量却十分有限。你认为依靠promoter和依靠俱乐部，这两种场景哪种更有利于Rave场景的发展？
In China, due to the absence of laws like alcohol curfews, clubs can operate until very late hours, leading to a surge in the number of clubs in recent years. However, there are still relatively few clubs that eventually survive in China. Which scenario do you think is more favorable for the development of the rave scene: relying on promoters or relying on clubs?

M:这很难说，我觉得这需要结合每个地方的文化来看。
It’s hard to say. I believe it depends on the cultural background.

比如说加州，像你之前提到的，加州有80多年的酒精宵禁令，合法俱乐部最晚只能开到凌晨2点，但这对Raver的天亮文化来说显然是不够的。因此，自然而然的地下非法派对就多了起来，同时也带动了由promoter主导的场景。现如今，洛杉矶的地下场景非常庞大，不过他们大部分只做活动，并不发展音乐。当然啦，这也没什么错。
For example, in California, as we mentioned earlier, there’s an alcohol curfew of over 80 years, where legal clubs can only sell alcohol until 2 AM at the latest, which is insufficient for the sunrise culture of ravers. This naturally led to an increase in underground outlaw parties, driven by promoters. Today, the underground scene in Los Angeles is huge, but most of them focus on events rather than music production. Of course, there’s nothing wrong with this approach.

而在欧洲，以及你提到的中国，并没有酒精宵禁令，俱乐部可以通宵地开，舞可以通宵地跳，酒也可以通宵地喝。人们有了跳舞和社交的合法固定场所。因此比起洛杉矶，像中国这样的地区，电子音乐文化主要由俱乐部进行推动。
On the other hand, in Europe and places like China, where there’s no alcohol curfew, clubs can stay open all night, and people can dance and socialize until dawn. This provides people with a legal and established venue for both dancing and socializing.

J：美国是House和Techno的发源地，根基一直都在。相比之下，中国的电子音乐场景起步较晚，但听众似乎更喜欢具有多样性的音乐场景，你能够在同一场派对甚至同一位DJ的set里听到涵盖了多种风格的声音。而在南加州，听众似乎更喜欢具有明确音乐风格标签的场景。你认为是什么导致了这个现象呢？
The United States is the birthplace of House and Techno. In contrast, the electronic music scene in China started relatively late, but the audience appears to have a more “diverse” taste in parties where you can hear a variety of genres at the same party or even from the same DJ. In Southern California, on the other hand, the audience seems to prefer parties with clear music genres. What do you think has caused this phenomenon?

M: 确实，现在很多东西都是分开的。说实话，其实我也不太知道为什么哈哈。
Indeed, many things are separated now. Honestly, I’m not quite sure why, haha.

但想起来在90年代Rave初期我刚开始出去放歌的时候，我什么都会放一点，不一定都是Techno。那个时候，很多活动都会设置不同的room：比如说有Techno room，或者有Drum & Bass room，甚至还会有Ambient room。不过现在几乎没有专门放Ambient的俱乐部和活动了。或许在EDC上还有，我不清楚哈哈。但确实你说得对，美国这边确实一直在按曲风划分舞台。
But thinking back to when I first started DJing in the early days of the ’90s rave scene, I used to play a bit of everything, not just Techno. Back then, many events would have different rooms, like a Techno room, a Drum & Bass room, or even an Ambient room. Nowadays, there are hardly any clubs or events specifically dedicated to Ambient music. Perhaps you might find some at EDC; I’m not sure. But you’re right; in the US, they have been categorizing stages by music genre for quite some time now.

J：中国听众看似如此更多元化、口味杂，你认为这是受众分化成熟之前还是已经分化后的全新状态？
Do you view China’s diverse taste as a transitional phase or a completely new state of differentiation?

M:其实在90年代Rave的早期阶段，一切都是新鲜的，每个人都在尝试一切新鲜事物。发现除了流行或嘻哈的新类型音乐非常有趣。就像是，“哇，这是Techno。哇，那是Trance”，然后突然之间又来了“哇，这是Dubstep”。因为在当时，一切都那么新鲜，选择实在太多了。
In the early stages of the 1990s rave scene, everything was fresh and exciting. They discovered that aside from mainstream or hip-hop, there were many other interesting genres of music. It was like, “Wow, this is Techno. Wow, that’s Trance,” and then suddenly, “Wow, this is Dubstep.” Because at that time, everything was so new, and there were so many choices.

其实在那之前，我们真的没有太多类型的舞曲音乐，可能只有一些流行音乐广播上的东西。但现在互联网，你可以随时随地搜索任何东西，有很多不同的渠道来听音乐。有传统广播，还有Spotify，还有很多人通过SoundCloud等做自己的播客。我认为这在很大程度上与美国的情况有关，就像我之前说的，因为它非常分散，所以他们在所做的事情上非常专业。比如Drum & Bass 我也很喜欢，但我不会去外面放Drum & Bass，因为我知道有其他DJ在那方面做得比我更好，他们更专业，且我也不想打扰到他们。
Before that, we didn’t have too many types of dance music, probably just some stuff on mainstream music radios. But now, with the internet, you can search for anything anytime anywhere. There are many different channels for listening to music. There’s traditional radio, then there’s Spotify, and a lot of people have podcasts on platforms like SoundCloud. I think this is largely due to the situation in the United States, as I mentioned earlier, because it’s so spread out, people are very specialized in what they do. For example, I also like Drum & Bass, but I wouldn’t go out and play Drum & Bass because I know other DJs do it better than me. They are more professional, and I don’t want to step on their toes.

很多时候，活动promoter也会因为音乐风格来book他们。如果他们不能把自己的音乐概括成一个具体的风格的话，promoter会很难定位到他们，他们也就更难被book。
Many times, event promoters book DJs based on their music style. If DJs can’t categorize their music into a specific genre, it can be challenging for promoters to place them, and they may find it difficult to get booked.

因此我觉得，中国现在的情况可能和90年代Rave时期的美国类似，电子音乐才刚刚开始发展，对于听众来说一切都太新了。在同一场活动里只是听同一种类型的音乐可能完全没办法满足他们，就像年轻时的我一样。
So, I think the current situation in China might be similar to the United States during the 90s rave era. Electronic music is just beginning to develop, and for the audience, everything is still very new. Listening to just one type of music at the same event might not satisfy them at all, just like when I was younger.

J：考虑到美国和中国电子音乐场景起源的不同，你觉得这是否也对中美两种侧重形式的差异产生直接影响呢？长远看来，你觉得中国地下电子音乐场景会越来越像美国一样趋向于特定音乐风格的主导化吗？
Considering the differences in the origins of electronic music scenes in the United States and China, do you think this has a direct influence on the differences in emphasis on specific forms of music scenes in both countries? In the long term, do you think that underground electronic music parties in China will gradually become more genre-separated, similar to the United States?

M: 其实电子音乐在美国从来没有真正得到过太大推动，因为主流、流行和嘻哈音乐市场实在是太大了。但随着音乐节的兴起，情况变得更好了。现在，特别是EDM，那肯定流量很多，但他们确实朝着更流行的方向发展。
In fact, electronic music has never received significant promotion in the United States, because the mainstream, pop, and hip-hop music markets are simply too massive. However, with the rise of music festivals, the situation has improved. Nowadays, especially with EDM, there’s certainly a lot of appeal, but they are indeed evolving towards a more mainstream direction.

很多艺术家、制作人，比如说Skrillex在主流领域有所作为，所以他们的曝光率更高。但对于Techno和House来说，在这里始终是地下音乐。所以我觉得这肯定是有直接影响的。美国的Techno和House已经发展了这么久了，即使如此依旧作为地下音乐，参与进来的制作人和DJ们也一直在更新换代，同时也都在自己喜欢的风格领域里越来越专业。
Many DJs and producers, such as Skrillex, have made a significant impact in the mainstream, so they have higher exposure. However, Techno and House, have always remained underground in the United States. So, I believe this has a direct impact. Techno and House in the United States have been around for so long, and even though they remain underground, the producers and DJs involved have been constantly evolving and specializing in their preferred styles.

而对于中国来说，就像Rave文化初期的美国一样，电子音乐是个很新的东西，尤其对于听众来说，一切都是新鲜的，一切风格都可以作为听觉的刺激。随着时间的推移，听众可能渐渐就不再觉得新鲜了，口味会变得越来越挑剔。而为了迎合这些挑剔的听众，活动的营销和运营策略可能也会发生改变，比如说，派对的主题风格流派会变得越来越占据主导。
For China today, it might be similar to the early days of rave culture in the United States, where electronic music was relatively new to the audience. Everything seemed fresh, and any genre could stimulate their ears. However, as time goes on, the audience may become less easily impressed, and their tastes may become more discerning. To cater to these discerning audiences, the marketing and operational strategies of music events may change. For example, the dominant music genres at parties may become more specialized over time.

05 【结与续】Closing and The Future

明天的中国电子音乐场景，究竟会像 Myxzlplix 说的那样从“什么都觉得好新鲜有趣”的懵懂走向“挑三拣四”的成熟；还是会在不同的时代背景下走出截然不同的风貌。作为国内发展的亲历者，我们正在一起见证！
The future of China’s electronic music scene, whether it will follow Myxzlplix’s idea of transitioning from a phase of “finding everything exciting and fresh” to a more selective and mature phase, or take on a completely different path in different social backgrounds? This is something we, as firsthand witnesses from the country, are experiencing together.