Arachnophonia: House Music

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog records for the items in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Nikoloz (class of 2026) and features various electronic resources having to do with house music. Thanks, Nikoloz!

House Music

House music is a genre of electronic dance music that originated in Chicago’s underground club culture during the early to mid-1980s. Pioneered by DJs and producers like Frankie Knuckles, Ron Hardy, and Marshall Jefferson, house evolved from disco by incorporating a repetitive four-on-the-floor beat, typically at 120–130 BPM, and mechanical rhythms created using drum machines like the Roland TR-808 and TR-909. The genre is characterized by deep basslines, synthesizer riffs, and off-beat hi-hats, claps, or snares, often layered with sampled vocals or instrumental loops from disco, soul, or funk. House music gained mainstream popularity by the late 1980s, influencing pop artists like Madonna, Whitney Houston, and Lady Gaga, and producing hits such as “Pump Up the Jam” and “Show Me Love.” Its production relied on affordable electronic equipment, making it accessible to independent creators, and its structure typically features repetitive eight-bar sections, slowly building layers of sound and texture.

House music encompasses a wide range of subgenres, including acid house, defined by the squelchy sounds of the Roland TB-303 bass synthesizer. Tracks often include minimal vocals, with repeated phrases or words, and are structured around intros, choruses, and outros, with longer 12-inch mixes for clubs and shorter radio edits. The genre emphasizes the lower-pitched bass register, creating a sparse yet rhythmic texture. House music’s global influence expanded from Chicago to New York, London, and beyond, becoming a staple in both mainstream and underground scenes. Its legacy continues through its impact on dance music, its presence in clubs and on radio, and its role in shaping modern pop and electronic music.

Some of the electronic resources featuring house music that the Music Library has access to include:

Streaming albums (like this one) via Alexander Street

Encyclopedia articles with bibliographies to help you start your research (like this one on house from Grove Music Online)

If you’d like to learn more about House music, the Music Library also boasts a wide variety of books, CDs, and more! You can use OneSearch to locate our holdings.

Parsons Playlists: House Music

Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student manager Nikoloz (class of 2026) and features some house music.

House

Enjoy this House playlist!

Noizu – “Summer 91 (Looking Back)”

Palace – “Vision”

Robbie Rivera (ft. Elizabeth Gandolfo) – “My Body Moves”

Fred again .. – “Delilah (pull me out of this)”

Prunk & Dennis Quin – “Drive”

Oden & Fatzo – “Lauren”

Franky Rizardo & Ros T (ft. Eunice Collins) – “Out the Fire (At the Hotel)”

Ben Rau – “Calling Out Your Name (I Can’t Sleep)” (Oden & Fatzo remix)

Satin Jackets – “You Make Me Feel Good”

moullinex – “Take My Pain Away (Gilgamesh Remix)”

Jack Marlow – “Burnin'”

Astrohertz – “Transmission”

Vrdnyn (ft. Eljé) – “Shoreditch”

DTAILR – “Groovy Thang”

Here is a link to the whole playlist on YouTube: https://youtube.com/playlist?list=PLU94rco57ZeyRcS_1BK1AWJAoaeptYkPQ&si=R4JFiJg5qrW-90aL

Arachnophonia: Bibio “The Apple and the Tooth” and “Mind Bokeh”

Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item(s) in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Jane (class of 2022) and features two albums by English musician Bibio. Thanks, Jane!

Bibio

The Apple and the Tooth

Bibio - The Apple and the Tooth

and

Mind Bokeh

Bibio - Mind Bokeh

I can’t remember how I first found Bibio, but it seemed like all of a sudden, his songs were all I listened to (69 hours worth in 2018 alone, but who’s counting?). His music, which blends acoustic guitars and mandolins with ambient nature sounds and funky jazz-electronic beats, has had a huge influence on me since the summer of 2014. His music might not be for everyone; a lot of it is instrumental, and it doesn’t follow a lot of the patterns that most modern pop songs do. I really love it though, and I’m so excited that my requests have been heard and we now have two of his albums: The Apple and the Tooth (2009) and Mind Bokeh (2011).

There are tons of great songs on both albums, but The Apple and the Tooth is kind of special because it has 8 remixed songs from his previous album — one of my favorites in the history of all music — Ambivalence Avenue (2009). Mind Bokeh is filled with more great songs; some of my favorites include “Feminine Eye“, “More Excuses“, and “K is for Kelson“.

If you’re looking for music to study to, fall asleep to, cry to, or feel inspired by, chances are that Bibio has at least 20 songs that will fit your mood. He’s a great artist, albeit fairly unknown, so give him a listen if you want to try something new!

Arachnophonia: Ariana Grande “Sweetener”

Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Gabi (class of 2020) and features Ariana Grande’s fourth studio album Sweetener. Thanks, Gabi!

Ariana Grande

Sweetener

Ariana Grande - Sweetener

Right now, Ariana Grande is at the top of her game. She has been relevant in the pop genre for quite some time, from her early days as a Broadway and Nickelodeon actress, to now, but is currently transforming her career in what I would consider a glorious comeback.

In May 2017, the Manchester Arena suicide bombing took place at one of Ariana Grande’s concerts, and 22 people were killed. This led Ariana to suffer from severe anxiety, and even post traumatic stress disorder, putting a jolting halt to her career. She did not release new music until her mighty comeback single, “No Tears Left to Cry”, which was to be included on Sweetener, almost a year after the attack. It was an anthem of positivity in light of tragedy, which set the tone for the rest of her music that was to come shortly after.

In Sweetener, Ariana finally finds her own, unique sound. While her voice has always been recognizable as powerful, the songs on Sweetener go past her usual made-for-radio pop, providing a personal look into her growth, both as a person and as an artist. As trends in music have shifted, so has her style, going from experimenting with EDM on her previous album, Dangerous Woman, to using trap and hip-hop influences on Sweetener. Pharrell Williams‘s sophisticated and smooth production, combined with features from Missy Elliot and Nicki Minaj, show how hip-hop and trap have only enhanced Ariana’s music.

Ariana Grande - no tears left to cry

Ariana’s overall sound to me has matured, and may have even shifted her audience from younger girls to all people around her age, who are able to relate to what she’s saying. On Sweetener, she covers the ups and downs of romantic relationships, singing about love in her dreams on “R.E.M.” and a crush who she just can’t seem to ignore on “Goodnight and go.” On the other side of this, Ariana reminds us of mental health and self-care on the tracks “Breathin” and “Get Well Soon.” “Breathin” is about Ariana’s own experience with anxiety, and reminds listeners who are going through similar situations to keep breathing. Sometimes I listen to “Breathin” when I’m nervous, and it helps me keep calm. “Get Well Soon”, the closing track, is my personal favorite. Described by Ariana as a “musical hug” to her fans, it reminds listeners to take care of their bodies and encourages a discussion about mental health. She tells listeners that she will be there, even in their worst moments, and inspires them to “work their way to the top”.

There is a clear reason for Ariana’s seemingly overwhelming popularity today: her music has never been better.

When Sweetener came out, I woke up, made myself a coffee, and sat in my sunny backyard on a hot August morning to listen to it for the first time. The album made me feel warm and happy, and I don’t think it was just because of the weather. To me, this is a special album that I still listen to, especially when I’m feeling down, and will always remember. It holds a firm spot in my top albums of 2018.