4 Electronic Tracks That Were Way Ahead of Their Time (And Arguably Even Better Today)

Electronic music has so many subgenres, each with distinct elements, that it’s hard to keep track of them all. If there’s one thing I know, however, it’s that the following four songs were so ahead of their time they’re almost timeless. And an honorable mention to the beloved “Sandstorm” by Darude, of course.

“Born Slippy (Nuxx)” by Underworld

British electronic group Underworld released “Born Slippy (Nuxx)” in 1996 as a B-side to the original “Born Slippy” mix. In contrast, “Nuxx” added a slow, ethereal intro and vocals. But the foundational pounding beat remained. After being included on the Trainspotting soundtrack, “Born Slippy (Nuxx)” hit No. 2 on the U.K. singles chart. The pulsing electronic sound paired with fragmented vocals gives the impression of stumbling around drunk. Considering vocalist Karl Hyde wrote it while on a bender, intending for it to represent a rock-bottom cry for help, it made the perfect track for Trainspotting.

“Rapture” by iiO

“Rapture” was released on electronic duo iiO’s 2005 debut album, and it sounds simultaneously behind and ahead of its time. Meaning, it would have blended seamlessly into a 90s rave, but also would have been huge if it were released into today’s EDM scene. Part of that might be due to its original release as a single in 2001 before later becoming an album track. But it still has a versatile electronic sound strengthened by Nadia Ali’s angelic vocals. It’s uncomplicated, but just intricate enough to still be interesting, reminiscent of the Alice Deejay electronic era without getting lost in nostalgia. Find me a more perfectly crafted club banger; I’ll wait.

“Adagio for Strings” by Tiësto

As a pioneer of early 2000s house music, Tiësto has had an illustrious career behind the DJ booth. In 2005, he released “Adagio for Strings”, an ambitious remix of Samuel Barber’s classical composition from 1936. Yes, the piece that plays at the climax of Platoon, and so many other film soundtracks. Tiësto’s re-imagined piece thumps with a constant heartbeat underneath continually layered beats, building into something you can just tell is going to be big. The adapted composition makes its first appearance in a suddenly hushed moment, at once jagged and smooth, completely contradictory as it breaks apart.

“Rocky Mountains” by Wendy Carlos

Electronic music wouldn’t be where it is today if not for iconic Moog whisperer Wendy Carlos. She’s known primarily for her musical contributions to films like Tron, A Clockwork Orange, and The Shining. Essentially, Carlos was a master of the Moog synthesizer. While she’s since retreated from the public eye, she retains an impressive legacy, affectionately referred to as the mother of synth music. While The Shining main theme, released in 1980, is a beloved composition, “Rocky Mountains” is, personally, much more sinister. Wendy Carlos knew exactly how to manipulate a synthesizer to create the most unsettling atmosphere, and the proof is in The Shining soundtrack.

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