It is unquestionable that the Electro genre has reached a broader American audience in the last two years. I am determined to document the scene and its participants, show the inner workings of the genre and what it will eventually evolve into. The notion to document this genre was conceived in 2008 after reading a blog post with the same title ‘Electro Wars’ featured on the Hipster Runoff. The post was a sarcastic outlook on electro/house artists in the United States and Europe, and their impact on mainstream music here in the United States. I found a substantial concept within the snarky commentary and decided to assemble these “electro soldiers”. It seems that every other day a new remix is popping up on the blogosphere, how does this affect marketing for other independent artists? Do they welcome the remixes or oppose them? Is music overload possible? What will eventually happen when all these budding producers grab a hold of a Pro Tools tutorial and develop their own remixes week in and week out?
I also like this one from the Stockholm Film Festival – “In the blogosphere no one can hear you scream. That is the general idea when examining today’s music climate, where drums and synthesizers and bass-lines seem to intertwine in the massive noise of modern society. In recent years electronic dance music has seen a massive circulation in the USA – a medley of different genres and musical influences that is now being framed by young filmmaker Stephen Alex Vasquez.
In The Electro Wars he sets out to guide us through the binary jungle called the Internet. Through interviews with some of the greatest artists from the scene, Vasquez shows the vast extent of a music phenomenon in the making. So rich in its diversity yet condensed in its documented form, The Electro Wars goes all-in to draw some kind of a map for the audience to interpret. When finally grasping this potpourri of sounds one cannot help but wonder: How can a director succeed in documenting a culture that is constantly growing, that will reach outside the frame before the cameraman has time to push the record-button?”
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