I see the era (2013-2015) of Jersey club music as being broken into four broad stages, which, of course, are subjective, ill-defined, and with blurry borders. These stages reflect both my own personal growth in my musical discovery and what I presume is a true underlying current in the music history itself. Note that all of this excludes the actual history of Jersey club music before this time, which was developed almost solely by black producers in Newark and Baltimore. Many of the artists mentioned henceforth are white, reflecting the adoption (after many years) of the club music elements by a broader audience of producers and listeners. I decided to make a folder of songs (that meet the rules of r/XTrill) in response to a request for songs from this era.

The first stage is the Dominion of MOD and Intellectual Club music (dbr:KrqA). These artists, which include LiL Texas, Arnold, and C.Z., incorporated club music elements (e.g., the club beat, key club samples) into the burgeoning new electronic genres that were emerging at this time, including trap as an electronic music genre and electronica more broadly. Their music was both melodic and heavily sample-based, though there was an unpolished edge and intensity that likely arose as a result of the explorations of these and other producers in the trend of minimal/intellectual electronic trap music that occurred previously and concurrently. There was little attempt at mimicking the actual sound of the original Jersey club greats, but rather an authenticity and seriousness made apparent by the emphasis on original songs over remixes of pop and R&B songs. The experimentations of these artists led them into different directions, eventually leading to the end of their Jersey club productions.

The next stage is the Rise of Hoodboi, Falcons, and Friends, which marked the more widespread adoption of Jersey club to white producers (dbr:HbqN). Artists in this stage included (obviously) Hoodboi and Falcons, and also Trippy Turtle (and Lido), DEER, and Jesse Slayter. These artists continued to include the hallmark elements of Jersey club but in a more pop-friendly context by remixing pop and R&B songs, using 90s R&B-influenced melodies and instrumentation, and including more upbeat emotional tenors. Humor was used extensively, perhaps referencing the lack of authenticity these artists had in imitating the sounds of the Jersey club greats without any association with New Jersey. Such elements of humor included using samples in humorous ways and creating fake Jersey club personas wrapped in mystery (e.g., DJ Yolo Bear, WEEP, Emoji King, & Y2KOALA). Despite their lack of authenticity, they were supported by Jersey club greats including DJ Sliink, which both helped to legitimize the artists and bring an audience to Newark artists who would emerge later. The popularity of artists during this stage likely contributed heavily to the more widespread adoption of Jersey club in the future and brought success to these artists, even as their styles changed.

The next stage is a more Transitional phase with few defining characteristics (dbr:cUuo). Notably, many of the artists in the previous stage started making less Jersey club music, moving instead to different genres such as the newly popular future bass and blending of hip-hop trap with electronic trap. Several new artists were dipping their toes into jersey club, making high quality tracks without committing themselves to the genre. These artists were often international, including Sable and Cosmo's Midnight from Australia's Dofflin scene, Barcelona's Alizzz, and Israel's Vespertown. Their songs took heavy future bass influence and were largely divorced form the authentic sounds of the Jersey club greats. At the same time, Newark artists were expanding their palate, bringing the pop accessibility and melodic production that were present in the previous stage into their tracks. This was a period of exploration and mild experimentation, with future bass producers testing the combination of their new synth sounds with Jersey club beats and samples, and jersey club producers moving toward more accessible production.

The final stage in this era (which is certainly not the end of Jersey club) is the Rise of Moving Castle (dbr:GhAA). Moving Castle was a small internet collective of artists who were experimenting with future bass, club music, and other genres. Vices and Jailo were the main artists making Jersey club music. Their music was melodic and had future bass elements while retaining the club elements that make their music within the realm of Jersey club. These artists moved away from the pop-friendly and uplifting immediacy of Hoodboi, Falcons, and Friends, and were more in line with the Transitional artists, except that club music was less a flavor or accessory and more of a core element in their songs. By this point, many of the artists previously mentioned had stopped making club music, leaving it instead to the original greats and other rising stars from Newark. Indeed, even the Moving Castle producers have moved on, focusing now on pop, hip-hop, and R&B production.

Today, we're in a new phase of Jersey club music that is more authentic but less accessible and interesting (to my palette, anyway). Almost all of the artists previously mentioned have stopped making Jersey club music. The small jersey club crews, like JiggyThvtMusic, TeamReckless, and BedSqueakSquad are still making lots of great club music, while Sliink and R3ll are seeing success with major EDM labels. Sammy Seagull continues to bring back the glory of Hoodboi, Falcons, and Friends with a future bass twist. Club music has expanded internationally and beyond the confines of the original genre. There is still a lot of history to discuss and music to be heard.

That's my perspective on the history of Jersey club between 2013 and early 2015. It could all be wrong and I would love for someone to tell me what they thought happened during this time and whether everything I've said is bullshit. Thanks for reading.