NY Times Goes Electronic Dance Music, Electronic Dance Music Goes Hollywood

The NY Times is jumping on the electronic dance music train full speed ahead.

Kaskade, met with film producers during his summer headlining tour but has yet to finalize a deal. Without denying the potential financial rewards Kaskade (whose real name is Ryan Raddon) said part of his motivation for venturing into film scores is artistic credibility.

“For me it’s about longevity and doing something that’s new, different, challenging,” he said. “I think there still are some people who doubt the musicality about electronic music, like: ‘What is it? What are they doing?’ But after you score a film, nobody can really say anything more about that.”

For a movie industry eager to tap into E.D.M.’s largely young fan base, the incentive seems obvious. Yet John Houlihan, a film supervisor who has worked on more than 60 soundtracks, including those for the three “Austin Powers” movies, “Training Day” and the forthcoming Bruce Willis thriller “Looper,” sees an underlying creative connection.

“I think it’s their day in the sun, and Hollywood is very trendy,” he said. “An E.D.M. artist like Skrillex is pushing frequencies and using new instrumentation that is so intense, his music has the potential to drive a modern action scene more effectively than a traditional Hollywood orchestra.”

Electronic musicians have scored movies for years. Recent examples include the Chemical Brothers for “Hanna” in 2011, Daft Punk for “Tron: Legacy” in 2010 (also directed by Mr. Kosinski) and Trent Reznor and Atticus Ross for “The Social Network,” for which they won an Academy Award. However, artists like Skrillex, Kaskade and M83 have more trendy momentum than their predecessors did during their projects. By including them, the movies get a quick infusion of youthful relevance, while the musicians court a broader mainstream audience and receive a significant salary.