Trigger words: Trap (12) trap (2) EDM (3) electronic music
Indicator sentences: We can't really understand what you define as "trap" or "good EDM/electronic" unless you provide at least an example of both.
Negotiation parts: Most of the trap that comes out/played in a *EDM* set is absolute shit (Diplo kinda shit). There are a lot of lesser known trap/future artists that put out a lot of good stuff on Soundcloud thats far better/more moving than popular EDM. EDM is exceptionally repetitive these days... Either way most of the depends on what you define as trap. I meant EDM to be electronic music broadly conceived, so I apologize if my language was vague. You're right about examples. I'll do some digging and see if I can post some. My exposure to Trap is broader than Martin Garrix, I assure you. Trap didn't originate within EDM - that came about in 2011/12. Trap is a Hip-Hop sub-genre - you need to do some reading http://en.wikipedia.org/wiki/Trap_(music)
Trigger words: meaningful
Indicator sentences: What does "meaningful" mean? When do a collection of sounds become meaningful?
Trigger words: bad
Indicator sentences: The title itself has a little ambiguity in the use of 'bad': does this mean that it is bad as in unappealing, unenjoyable & low quality, or bad as in negatively contributes to society... or both. Since the idea of it negatively contributing to society would be an extremely complex issue that couldn't be covered by the lengths of your post and mine combined - I'm going to assume you mean 'bad' as in unappealing/unenjoyable.
Negotiation parts: EDM isn't loved by everyone, so it can't be the second option. Trap clearly has an audience, so the third is out as it 'working' wouldn't distinguish it from trap as your post suggests. - It's like those amusement park rides that take you up 300 feet and then, well, drop you. The exhilaration and force of the drop is sharpened by the slow buildup. Yes, but the experience is personal and to what extent it is enjoyed subjective. Some people (even though they are a visibly smaller group) really just enjoy this initial buildup. This is not what I intended to conclude; I meant "bad" in terms of musical quality
Trigger words: works
Indicator sentences: Works in what way? Appealing to you, appealing to everyone, or appealing to the audience?
Negotiation parts: EDM isn't loved by everyone, so it can't be the second option. Trap clearly has an audience, so the third is out as it 'working' wouldn't distinguish it from trap as your post suggests. - It's like those amusement park rides that take you up 300 feet and then, well, drop you. The exhilaration and force of the drop is sharpened by the slow buildup. Yes, but the experience is personal and to what extent it is enjoyed subjective. Some people (even though they are a visibly smaller group) really just enjoy this initial buildup. Horror works in a similar fashion. The book/movie/game builds tension with atmosphere, hints at danger, etc. Then when the actual scare comes, the tension is released, fulfilled. If the tension is too long without any release, or there is no tension built between releases, the particular horror effect stops working. It would be a worse effect than were it done properly. These metaphors was supposed to give a model for why Trap's use of the tension-release cycle doesn't work. By this particular "doesn't work", I mean that given the model, there is an absence of "release" in Trap. Trap as a genre hasn't got the conventional tension-release cycle - this is its appeal to some: the tension is retained or released slowly, leaving the listeners in a tense/strong/'pumped' state which they enjoy. For others, such as yourself, this is uncomfortable. This is where the subjective nature of art and music applies as the audience of tap music enjoys the experience while others don't and these differences are the reason for the diversity of genres.
Trigger words: unfulfilled
Indicator sentences: What do you mean by 'unfulfilled'? Do you mean that all of the tension was not properly removed?
Negotiation parts: The trap fans still feel fulfilled at the end, but they achieve this by seeking a different experience from you: you expect a build and release, while they expect to retain the build beyond the peak, maybe because they enjoy the tense feeling as you enjoy the feeling of being thrilled. Our experience of tension and thrills is completely subjective in itself, so the perceived quality of different tracks in EDM - which is mainly based around pursuing a certain experience that audience finds enjoyable (this extends to a large proportion of music) - would be subjective. Horror works in a similar fashion. The book/movie/game builds tension with atmosphere, hints at danger, etc. Then when the actual scare comes, the tension is released, fulfilled. If the tension is too long without any release, or there is no tension built between releases, the particular horror effect stops working. It would be a worse effect than were it done properly. These metaphors was supposed to give a model for why Trap's use of the tension-release cycle doesn't work. By this particular "doesn't work", I mean that given the model, there is an absence of "release" in Trap. Trap as a genre hasn't got the conventional tension-release cycle - this is its appeal to some: the tension is retained or released slowly, leaving the listeners in a tense/strong/'pumped' state which they enjoy. For others, such as yourself, this is uncomfortable. This is where the subjective nature of art and music applies as the audience of tap music enjoys the experience while others don't and these differences are the reason for the diversity of genres.
Trigger words: objectively objective
Indicator sentences: I don't think you have a firm grasp on what objectivity means.