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Intelligent dance music (commonly abbreviated as IDM) is a style of electronic music originating in the early 1990s that is regarded as "cerebral" and better suited to home listening than dancing.[3][4][5] Emerging from electronic and rave music styles such as ambient techno, acid house, and breakbeat,[6][7] IDM tended to rely upon individualistic experimentation rather than adhering to characteristics associated with specific genres.[8] Prominent artists associated with the genre include Aphex Twin, μ-Ziq, the Black Dog, the Orb, the Future Sound of London, Autechre, Luke Vibert, Squarepusher, Venetian Snares, and Boards of Canada.[3][4]

The term "intelligent dance music" has been widely criticised and dismissed by most artists associated with it, including Aphex Twin, Autechre, and μ-Ziq. It was likely inspired by the 1992 Warp compilation Artificial Intelligence and is said to have originated in the US[9][10] in 1993 with the formation of the "IDM list", an electronic mailing list originally chartered for the discussion of English artists appearing on the compilation.[11] In 2014, music critic Sasha Frere-Jones observed that the term "is widely reviled but still commonly used".[12]

In the late 1980s, riding the wave of the acid house and early rave party scenes, UK-based groups such as The Orb and The KLF produced ambient house, a genre that fused house music (particularly acid house) with ambient music.[13] By the early 1990s, the increasingly distinct music associated with dance music experimentation had gained prominence with releases on a variety of mostly UK-based record labels, including Warp (1989), Black Dog Productions (1989), R&S Records (1989), Carl Craig's Planet E, Rising High Records (1991), Richard James's Rephlex Records (1991), Kirk Degiorgio's Applied Rhythmic Technology (1991), Eevo Lute Muzique (1991), General Production Recordings (1989), Soma Quality Recordings (1991), Peacefrog Records (1991), and Metamorphic Recordings (1992).

In 1992, Warp released Artificial Intelligence, the first album in the Artificial Intelligence series. Subtitled "electronic listening music from Warp", the record was a collection of tracks from artists such as Autechre, B12, The Black Dog, Aphex Twin and The Orb, under various aliases.[14] This would help establish the ambient techno sound of the early 1990s.[15] Steve Beckett, co-owner of Warp, has said the electronic music that the label was releasing then was targeting a post-club, home-listening audience.[16][17] Following the success of the Artificial Intelligence series, "intelligent techno" became the favoured term, although ambient—without a qualifying house or techno suffix, but still referring to a hybrid form—was a common synonym.[17]

In the same period (1992–93), other names were also used, such as "art techno,"[18] "armchair techno," and "electronica",[19] but all were attempts to describe an emerging offshoot of electronic dance music that was being enjoyed by the "sedentary and stay at home".[20] At the same time, the UK market was saturated with increasingly frenetic breakbeat and sample-laden hardcore techno records that quickly became formulaic. Rave had become a "dirty word," so as an alternative, it was common for London nightclubs to advertise that they were playing "intelligent" or "pure" techno, appealing to a "discerning" crowd that considered the hardcore sound to be too commercial.[17]

In 1993, a number of new "intelligent techno"/"electronica" record labels emerged, including New Electronica, Mille Plateaux, and Ferox Records.[