PLAYING WITH FIRE
What is Electropop?
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Electropop, is a genre of popular music that combines elements of electronic music with pop music structures. It emerged in the late 1970s and became more prominent in the 1980s with the rise of synthesisers and electronic production techniques. Electropop is characterised by its use of synthesisers, drum machines, and other electronic instruments to create catchy melodies, upbeat rhythms, and danceable grooves. Electropop has seen various waves of popularity over the years, with artists like Kraftwerk, Depeche Mode, Pet Shop Boys, and New Order paving the way in the early days. In more recent years, artists such as Lady Gaga, Robyn, CHVRCHES, and The Weeknd have brought electropop into the mainstream with their own unique interpretations of the genre.
Aesthetics of Electropop
For the electro-pop genre, I conducted an analysis based on data gathered from Beatport's top 20 electro-pop songs of 2023. The findings revealed an average tempo of 128 BPM, ranging between 122 and 143 BPM, with the minor mode being the most prevalent, appearing in 12 out of 20 songs (60%). Notably, vocals were present in all of the songs examined.
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This genre emerged as the most commercially prominent among the three genres I scrutinised. It seamlessly combines synthesised electronic instrumentation with hook-heavy songwriting typical of popular music, catering to radio airplay with its uplifting qualities. The sampled songs predominantly followed a structure of intro, verse, chorus, verse, and chorus, with many also featuring a bridge section. This aligns with the traditional arrangement of pop songs while maintaining a strong emphasis on the relationship between dynamic drum and bass elements that compel listeners to dance.
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Playing With Fire Description
According to the analysis, "Playing With Fire" is set in the key of C major, maintaining a tempo of 128 BPM. The song follows a structured arrangement comprising an intro, verse, pre-chorus, chorus, verse, pre-chorus, chorus, and outro, with a primary emphasis on vocals, typical of this genre. The lyrical content, inspired by songs such as "Players" (2023) and "Every Little Thing" (2023), revolves around themes of relationships. Thus, I embraced this motif, crafting lyrics that depict a conflicted relationship wherein one party remains despite knowing it's not beneficial, driven by love.
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In the intro, I aimed to build tension by anchoring on a single chord, eventually releasing it through a chord progression inspired by elements from "The One" (2023). Expanding on this concept, I divided the intro into a brief buildup and subsequent drop. At the drop (bar 9), tension is relieved with the introduction of a chord sequence comprising D5, C sus2, Dm, and G, a motif I maintained throughout the song. To sustain listener engagement, I incorporated a recurring short melody spanning bars 9 to 17.
For the verses, I opted to strip away all drums to enhance dynamics. Additionally, I applied EQ adjustments to the drum buss from bars 25 to 34, heightening anticipation as the song progresses towards the pre-chorus. I aimed to amplify the energy level leading up to the chorus by implementing several techniques. Firstly, I elevated the vocal melody by an octave during the pre-chorus section. Additionally, I introduced synth leads with ascending pitches, accompanied by snare rises, EQ automation, and white noise—a characteristic element often found in tech house and progressive house genres. These production methods were instrumental in building anticipation towards the climactic first chorus at bar 41.
Upon reaching the chorus, I sensed that the vocal alone lacked sufficient strength to serve as the primary hook of the song. Consequently, I crafted a complementary melody to accompany the vocal, establishing a memorable hook that recurs throughout all choruses.
During the second verse, I once again stripped down the drums for a subdued atmosphere. However, to heighten the energy for the latter half of the song, I reintroduced the synth melody from the introduction (bars 9-17).
For the second chorus, I aimed to introduce a subtle twist. To achieve this, I delayed the synth melodies and accentuated the chords. Additionally, I employed a tremolo plugin on the channel strip and automated the tremolo depth. I crafted a snare rise to maintain a sense of anticipation, keeping the listener engaged and curious about what follows. Finally, I reintroduced the main synth hook, ensuring a dynamic and captivating chorus.