{"id":20379,"date":"2026-04-29T16:40:10","date_gmt":"2026-04-29T15:40:10","guid":{"rendered":"https:\/\/letrat.eu\/?p=20379"},"modified":"2026-04-29T16:54:57","modified_gmt":"2026-04-29T15:54:57","slug":"evolution-of-electronic-music-1955-to-2025","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=20379","title":{"rendered":"Evolution of Electronic Music – 1955 to 2025"},"content":{"rendered":"

In 1955, electronic music was a laboratory experiment. In 2025, it’s the default language of pop, club, film score, and even the sound of a TikTok scroll. This is not a complete history – it’s a mixtape of epitomes: one track, or some tracks per era that captures the spirit of its time.<\/p>\n

Electronic music broadly is a group of music genres that employ electronic musical instruments, circuitry-based music technology and software, or general-purpose electronics in its creation. It includes both music made using electronic and electromechanical means.<\/p>\n

\"\"<\/a><\/p>\n

From laboratory sine waves to the BPM of Attention<\/strong><\/p>\n

It began as a whisper. In 1955, the RCA Synthesizer filled a room with cold, humming circuits – no beats, no bass, no drops. Just pure, curious electricity. Nobody danced to it. But somebody listened.
\nBy 1963, Delia Derbyshire was cutting magnetic tape with scissors to create the Doctor Who theme – a ghost in the BBC Radiophonic Workshop, building the future from test oscillators and razor blades. Then came Kraftwerk. Donna Summer. Giorgio Moroder. The kick drum that never stopped.
\nThe 1980s brought house, techno, and the first true dance floors. The 1990s exploded with rave, big beat, and the birth of the superstar DJ. By the 2000s, electronic music was no longer a genre – it was the language of pop.<\/p>\n

Then something shifted. In the 2010s, EDM filled stadiums, but also bedrooms. Anyone with a laptop and a dream could become a producer. The lines blurred. Genre collapsed.<\/p>\n

And now? From 2023 onward, we no longer live in a world of tracks. We live in a world of fragments. TikTok loops. AI-generated textures. Hyperlocal club scenes on Bandcamp. A 15-second clip that becomes a 3-hour mix. The epic is gone. The loop is emperor.<\/p>\n

We call this era “The BPM of Attention” – 140 to 160 beats per minute, constantly remixed, endlessly forked. No single track defines a year anymore. Instead, we have parallel streams: nostalgia, innovation, and algorithms all dancing together.<\/p>\n

The table below is a mixtape – one track (or cluster of tracks) per era, chosen with love and obsession – from room-sized oscillators to your headphones, from 1955 to 2025. Scroll down. Listen with your eyes. And smile at how far we’ve come.<\/p>\n

\u00a0S. Guraziu – Sky Division & Logios, 2026<\/em><\/span><\/p>\n

 <\/p>\n

A chronological table of epitome tracks, from the RCA Synthesizer to the BPM of Attention. Years with multiple entries reflect explosive creative periods.<\/em><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Year<\/th>\nTrack \/ Work<\/th>\nArtist<\/th>\n<\/tr>\n<\/thead>\n
2025<\/td>\nDissolve (placeholder \u2014 real TBD)<\/td>\nFour Tet \/ Peggy Gou \/ Nia Archives<\/td>\n<\/tr>\n
2025<\/td>\n“The ephemeral track that loops on TikTok for 72 hours”<\/em><\/td>\nUnknown \/ AI-assisted \/ Viral<\/td>\n<\/tr>\n
2024<\/td>\nPerfect (Exceeder) 2024 bootleg<\/td>\nMason \/ various flippers<\/td>\n<\/tr>\n
2024<\/td>\nMissing You<\/td>\nsalute<\/td>\n<\/tr>\n
2023<\/td>\nC.T.S. <\/td>\nSkee Mask<\/td>\n<\/tr>\n
2023<\/td>\nRush<\/td>\nNia Archives<\/td>\n<\/tr>\n

<\/p>\n

2023 \u2013 2025 \u2794 The BPM of Attention (No single track per year – parallel streams)<\/strong><\/td>\n<\/tr>\n
2022<\/td>\nSpinning<\/td>\nLogic1000<\/td>\n<\/tr>\n
2021<\/td>\nCashmere<\/td>\nLSDXOXO<\/td>\n<\/tr>\n
2020<\/td>\nCaroline Shut Up<\/td>\nCaroline Polachek<\/td>\n<\/tr>\n
2019<\/td>\nLark<\/td>\nKoreless<\/td>\n<\/tr>\n
2018<\/td>\nClarity<\/td>\nKelly Lee Owens<\/td>\n<\/tr>\n
2017<\/td>\nThere For You<\/td>\nMartin Garrix & Troye Sivan<\/td>\n<\/tr>\n
2017<\/td>\nA.A. (Interlude)<\/td>\nOneohtrix Point Never<\/td>\n<\/tr>\n

<\/p>\n

2017 \u2013 2022 \u2794 Genre Collapse, Bedroom Maximalism, and the Algorithm<\/strong><\/td>\n<\/tr>\n
2016<\/td>\nAlone<\/td>\nMarshmello<\/td>\n<\/tr>\n
2016<\/td>\nFeel Good<\/td>\nSyn Cole<\/td>\n<\/tr>\n
2016<\/td>\nTri Poloski<\/td>\nTri Poloski<\/td>\n<\/tr>\n
2016<\/td>\nPaul Van Dyk ft Fisher<\/td>\nPaul Van Dyk<\/td>\n<\/tr>\n
2015<\/td>\nThe Day Is My Enemy<\/td>\nThe Prodigy<\/td>\n<\/tr>\n
2015<\/td>\nHome<\/td>\nMarshmello<\/td>\n<\/tr>\n
2015<\/td>\nRack The Party<\/td>\nJauz and Ephwurd<\/td>\n<\/tr>\n
2015<\/td>\nLean On<\/td>\nMajor Lazer & DJ Snake ft MO<\/td>\n<\/tr>\n
2014<\/td>\nTurn Down For What<\/td>\nDJ Snake, Lil Jon<\/td>\n<\/tr>\n
2014<\/td>\nFade<\/td>\nAlan Walker<\/td>\n<\/tr>\n
2014<\/td>\nWasted<\/td>\nTiesto ft Matthew Koma<\/td>\n<\/tr>\n
2014<\/td>\nSummer<\/td>\nCalvin Harris<\/td>\n<\/tr>\n

<\/p>\n

2014 \u2013 2016 \u2794 Festival Anthems and the Rise of Viral Drops<\/strong><\/td>\n<\/tr>\n
2013<\/td>\nClarity<\/td>\nZedd ft Foxes<\/td>\n<\/tr>\n
2013<\/td>\nThis Is What It Feels Like<\/td>\nArmin Van Buuren<\/td>\n<\/tr>\n
2013<\/td>\nDon’t You Worry Child<\/td>\nSwedish House Mafia<\/td>\n<\/tr>\n
2013<\/td>\nAnimals<\/td>\nMartin Garrix<\/td>\n<\/tr>\n
2012<\/td>\nFeathers<\/td>\nFareoh & Archie<\/td>\n<\/tr>\n
2012<\/td>\nIn My Mind<\/td>\nIvan Gough & Feenixpawl ft Georgi Kay<\/td>\n<\/tr>\n
2012<\/td>\nChasing Summers<\/td>\nTiesto<\/td>\n<\/tr>\n
2012<\/td>\nBangarang<\/td>\nSkrillex ft Sirah<\/td>\n<\/tr>\n
2011<\/td>\nSunlight<\/td>\nModestep<\/td>\n<\/tr>\n
2011<\/td>\nTitanium<\/td>\nDavid Guetta ft Sia<\/td>\n<\/tr>\n
2011<\/td>\nLevels<\/td>\nAvicii<\/td>\n<\/tr>\n
2011<\/td>\nParty Rock Anthem<\/td>\nLMFAO<\/td>\n<\/tr>\n
2010<\/td>\nWe No Speak Americano<\/td>\nYolanda Be Cool vs DCUP<\/td>\n<\/tr>\n
2010<\/td>\nBarbra Streisand<\/td>\nDuck Sauce<\/td>\n<\/tr>\n
2010<\/td>\nTake Over Control<\/td>\nAfrojack ft Eva Simons<\/td>\n<\/tr>\n
2010<\/td>\nRaise Your Weapon<\/td>\nDeadmau5<\/td>\n<\/tr>\n
2010<\/td>\nOne (Your Name)<\/td>\nSwedish House Mafia<\/td>\n<\/tr>\n
2009<\/td>\nGhosts N Stuff<\/td>\nDeadmau5 ft Rob Swire<\/td>\n<\/td>\n
2009<\/td>\nHeads Will Roll (A-Trak Remix)<\/td>\nYeah Yeah Yeahs<\/td>\n<\/tr>\n
2009<\/td>\nWARP<\/td>\nThe Bloody Beetroots ft Steve Aoki<\/td>\n
2009<\/td>\nStereo Love<\/td>\nEdward Maya & Vika Jigulina<\/td>\n<\/tr>\n
2008<\/td>\nI Remember<\/td>\nDeadmau5 & Kaskade<\/td>\n<\/tr>\n
2008<\/td>\nPjanoo<\/td>\nEric Prydz<\/td>\n<\/tr>\n
2008<\/td>\nNo Stress<\/td>\nLaurent Wolf<\/td>\n<\/tr>\n
2008<\/td>\nInfinity<\/td>\nGuru Josh Project<\/td>\n<\/tr>\n

<\/p>\n

2008 \u2013 2013 \u2794 EDM Explosion, The Drop, and Superstar DJs<\/strong><\/td>\n<\/tr>\n
2007<\/td>\nKids<\/td>\nMGMT<\/td>\n<\/tr>\n
2007<\/td>\nFaxing Berlin<\/td>\nDeadmau5<\/td>\n<\/tr>\n
2007<\/td>\nDestination Calabria<\/td>\nAlex Gaudino ft Crystal Waters<\/td>\n<\/tr>\n
2007<\/td>\nEverytime We Touch<\/td>\nCascada<\/td>\n<\/tr>\n
2007<\/td>\nDreamscape<\/td>\n009 Sound System<\/td>\n<\/tr>\n
2007<\/td>\nRise Up<\/td>\nYves LaRock<\/td>\n<\/tr>\n
2006<\/td>\nLove Don’t Let Me Go<\/td>\nDavid Guetta vs The Egg<\/td>\n<\/tr>\n
2006<\/td>\nPsycho<\/td>\nInfected Mushroom<\/td>\n<\/tr>\n
2006<\/td>\nWorld Hold On<\/td>\nBob Sinclar<\/td>\n<\/tr>\n
2006<\/td>\nDota<\/td>\nBasshunter<\/td>\n<\/tr>\n
2005<\/td>\nThe Oshawa Connection<\/td>\nDeadmau5<\/td>\n<\/tr>\n
2005<\/td>\nHuman After All<\/td>\nDaft Punk<\/td>\n<\/tr>\n
2005<\/td>\nPrecious<\/td>\nDepeche Mode<\/td>\n<\/tr>\n
2005<\/td>\nTechnologic<\/td>\nDaft Punk<\/td>\n<\/tr>\n
2004<\/td>\nThe World Is Mine<\/td>\nDavid Guetta<\/td>\n<\/tr>\n
2004<\/td>\nAdagio For Strings<\/td>\nTiesto<\/td>\n<\/tr>\n
2004<\/td>\nCall On Me<\/td>\nEric Prydz<\/td>\n<\/tr>\n
2004<\/td>\nLove Comes Again<\/td>\nTiesto ft BT<\/td>\n<\/tr>\n
2003<\/td>\nDays Go By<\/td>\nDirty Vegas<\/td>\n<\/tr>\n
2003<\/td>\nDeepest Blue<\/td>\nDeepest Blue<\/td>\n<\/tr>\n
2003<\/td>\nSatisfaction<\/td>\nBenny Benassi<\/td>\n<\/tr>\n
2002<\/td>\nTake Me Away<\/td>\n4 Strings<\/td>\n<\/tr>\n
2002<\/td>\nBombz Away<\/td>\nHigh Voltage<\/td>\n<\/tr>\n
2002<\/td>\nYou’re Not Alone<\/td>\nATB<\/td>\n<\/tr>\n
2002<\/td>\nThe Logical Song<\/td>\nScooter<\/td>\n<\/tr>\n
2002<\/td>\nReady, Steady, Go<\/td>\nPaul Oakenfold<\/td>\n<\/tr>\n
2001<\/td>\nWe Come 1<\/td>\nFaithless<\/td>\n<\/tr>\n
2001<\/td>\nAerodynamic<\/td>\nDaft Punk<\/td>\n<\/tr>\n
2001<\/td>\nCastles In The Sky<\/td>\nIan Van Dahl<\/td>\n<\/tr>\n
2000<\/td>\nPorcelain<\/td>\nMoby<\/td>\n<\/tr>\n
2000<\/td>\nFeel The Beat<\/td>\nDarude<\/td>\n<\/tr>\n
2000<\/td>\nLady (Hear Me Tonight)<\/td>\nModjo<\/td>\n<\/tr>\n
2000<\/td>\nOne More Time<\/td>\nDaft Punk<\/td>\n<\/tr>\n
2000<\/td>\nSandstorm<\/td>\nDarude<\/td>\n<\/tr>\n

<\/p>\n

2000 \u2013 2007 \u2794 The Supernova Era (Trance, Electroclash, Blog House)<\/strong><\/td>\n<\/tr>\n
1999<\/td>\nL’Amour Toujours<\/td>\nGigi D’Agostino<\/td>\n<\/tr>\n
1999<\/td>\nBetter Off Alone<\/td>\nAlice DJ<\/td>\n<\/tr>\n
1999<\/td>\nFreestyler<\/td>\nBomfunk MC’s<\/td>\n<\/tr>\n
1999<\/td>\nKernkraft 400<\/td>\nZombie Nation<\/td>\n<\/tr>\n<\/td>\n1999<\/td>\nFlat Beat<\/td>\nMr. Oizo<\/td>\n<\/tr>\n
1999<\/td>\nHey Boy Hey Girl<\/td>\nThe Chemical Brothers<\/td>\n<\/tr>\n
1998<\/td>\nI’m Blue (Da Ba Dee)<\/td>\nEiffel 65<\/td>\n<\/tr>\n
1998<\/td>\nBelieve<\/td>\nCher<\/td>\n<\/tr>\n
1998<\/td>\nRight Here, Right Now<\/td>\nFatboy Slim<\/td>\n<\/tr>\n
1998<\/td>\nMusic Sounds Better With You<\/td>\nStardust<\/td>\n<\/tr>\n
1997<\/td>\nEcuador<\/td>\nSash!<\/td>\n<\/tr>\n
1997<\/td>\nCome To Daddy<\/td>\nAphex Twin<\/td>\n<\/tr>\n
1997<\/td>\nBlock Rockin’ Beats<\/td>\nThe Chemical Brothers<\/td>\n<\/tr>\n
1997<\/td>\nAround The World<\/td>\nDaft Punk<\/td>\n<\/tr>\n
1996<\/td>\nChildren<\/td>\nRobert Miles<\/td>\n<\/tr>\n
1996<\/td>\nBorn Slippy (Nuxx)<\/td>\nUnderworld<\/td>\n<\/tr>\n
1996<\/td>\nLove And Pain<\/td>\nCaptain Hollywood Project<\/td>\n<\/tr>\n
1996<\/td>\nFirestarter<\/td>\nThe Prodigy<\/td>\n<\/tr>\n
1995<\/td>\nInsomnia<\/td>\nFaithless<\/td>\n<\/tr>\n
1995<\/td>\nPush<\/td>\nArmin Van Buuren<\/td>\n<\/tr>\n
1995<\/td>\nBe My Lover<\/td>\nLa Bouche<\/td>\n<\/tr>\n
1995<\/td>\nTake Me Away<\/td>\nCulture Beat<\/td>\n<\/tr>\n
1994<\/td>\nScatman<\/td>\nScatman John<\/td>\n<\/tr>\n
1994<\/td>\nFor An Angel<\/td>\nPaul Van Dyk<\/td>\n<\/tr>\n
1994<\/td>\nThe Colour of My Dreams<\/td>\nBG The Prince Of Rap<\/td>\n<\/tr>\n
1994<\/td>\nU and Me<\/td>\nCappella<\/td>\n<\/tr>\n
1994<\/td>\nNo Good (Start The Dance)<\/td>\nThe Prodigy<\/td>\n<\/tr>\n
1993<\/td>\nWhat Is Love<\/td>\nHaddaway<\/td>\n<\/tr>\n
1993<\/td>\nMr. Vain<\/td>\nCulture Beat<\/td>\n<\/tr>\n
1993<\/td>\nShow Me Love<\/td>\nRobin S<\/td>\n<\/tr>\n
1993<\/td>\nNo Limit<\/td>\n2 Unlimited<\/td>\n<\/tr>\n

<\/p>\n

1993 \u2013 1999 \u2794 Eurodance, Big Beat, and the Golden Era<\/strong><\/td>\n<\/tr>\n
1992<\/td>\nRhythm Is A Dancer<\/td>\nSnap!<\/td>\n<\/tr>\n
1992<\/td>\nPush The Feeling On<\/td>\nNightcrawlers<\/td>\n<\/tr>\n
1992<\/td>\nOut of Space<\/td>\nThe Prodigy<\/td>\n<\/tr>\n
1991<\/td>\nGonna Make You Sweat<\/td>\nC+C Music Factory<\/td>\n<\/tr>\n
1991<\/td>\n3AM Eternal<\/td>\nThe KLF<\/td>\n<\/tr>\n
1990<\/td>\nEnjoy The Silence<\/td>\nDepeche Mode<\/td>\n<\/tr>\n
1990<\/td>\nPump Up The Jam<\/td>\nTechnotronic<\/td>\n<\/tr>\n
1989<\/td>\nPacific State 202<\/td>\n808 State<\/td>\n<\/tr>\n
1989<\/td>\nThe Power<\/td>\nSnap!<\/td>\n<\/tr>\n
1989<\/td>\nTake Me Away<\/td>\n2 in a Room<\/td>\n<\/tr>\n
1988<\/td>\nFeel The Rhythm<\/td>\n2 Houss People<\/td>\n<\/tr>\n
1987<\/td>\nBreak 4 Love<\/td>\nRaze<\/td>\n<\/tr>\n
1986<\/td>\nCan You Feel It<\/td>\nMr. Fingers<\/td>\n<\/tr>\n
1986<\/td>\nMove Your Body<\/td>\nMarshall Jefferson<\/td>\n<\/tr>\n
1985<\/td>\nFaces<\/td>\nClio<\/td>\n<\/tr>\n

<\/p>\n

1985 \u2013 1992 \u2794 House, Techno, and the Birth of Rave<\/strong><\/td>\n<\/tr>\n
1984<\/td>\nAxel F<\/td>\nHarold Faltermeyer<\/td>\n<\/tr>\n
1984<\/td>\nMiami Vice Theme<\/td>\nJan Hammer<\/td>\n<\/tr>\n
1983<\/td>\nBlue Monday<\/td>\nNew Order<\/td>\n<\/tr>\n
1983<\/td>\nClear<\/td>\nCybotron<\/td>\n<\/tr>\n
1982<\/td>\nKnight Rider Theme Song<\/td>\nStu Phillips<\/td>\n<\/tr>\n
1982<\/td>\nAmama<\/td>\nPink Project<\/td>\n<\/tr>\n
1981<\/td>\nLaser<\/td>\nLaser<\/td>\n<\/tr>\n
1980<\/td>\nJust Can’t Get Enough<\/td>\nDepeche Mode<\/td>\n<\/tr>\n
1979<\/td>\nPyramid – Lucifer<\/td>\nAlan Parsons Project<\/td>\n<\/tr>\n
1978<\/td>\nMidnight Express Theme Song<\/td>\nGiorgio Moroder<\/td>\n<\/tr>\n
1977<\/td>\nI Feel Love<\/td>\nDonna Summer \/ Giorgio Moroder<\/td>\n<\/tr>\n

<\/p>\n

1977 \u2013 1984 \u2794 Disco, TV Themes, and the Synthesizer Mainstream<\/strong><\/td>\n<\/tr>\n
1976<\/td>\nOxygene<\/td>\nJean Michel Jarre<\/td>\n<\/tr>\n
1975<\/td>\nLos Angeles<\/td>\nTeddy Lasry<\/td>\n<\/tr>\n
1974<\/td>\nAutobahn<\/td>\nKraftwerk<\/td>\n<\/tr>\n
1973<\/td>\nTanzmusik<\/td>\nKraftwerk<\/td>\n<\/tr>\n
1972<\/td>\nApache<\/td>\nRod Hunter<\/td>\n<\/tr>\n
1971<\/td>\nNa Na Hey Hey Kiss Him Goodbye<\/td>\nClaude Denjean<\/td>\n<\/tr>\n
1970<\/td>\nRockpalast<\/td>\nKraftwerk<\/td>\n<\/tr>\n
1969<\/td>\nPopcorn<\/td>\nGershon Kingsley<\/td>\n<\/tr>\n
1968<\/td>\nPendulum Music<\/td>\nSteve Reich<\/td>\n<\/tr>\n
1967<\/td>\nBye Bye Butterfly<\/td>\nPauline Oliveros<\/td>\n<\/tr>\n
1966<\/td>\nLe Tombeau D’Edgar Poe<\/td>\nIlhan Mimaroglu<\/td>\n<\/tr>\n

<\/p>\n

1966 \u2013 1976 \u2794 Tape Loops, Moog, and the First Warmth<\/strong><\/td>\n<\/tr>\n
1965<\/td>\nMusic For Solo Performer<\/td>\nAlvin Lucier<\/td>\n<\/tr>\n
1964<\/td>\nEnsembles For Synthesizer<\/td>\nMilton Rabbit<\/td>\n<\/tr>\n
1963<\/td>\nDoctor Who Theme<\/td>\nRon Grainer \/ Delia Derbyshire (BBC Radiophonic)<\/td>\n<\/tr>\n
1962<\/td>\nStudy (Studie f\u00fcr elektronische Musik)<\/td>\nJosef Anton Riedl<\/td>\n<\/tr>\n
1958<\/td>\nSyncopation<\/td>\nTom Dissevelt & Kid Baltan<\/td>\n<\/tr>\n
1955<\/td>\nRCA Synthesizer Demo<\/td>\nRCA (Olson & Belar)<\/td>\n<\/tr>\n

<\/p>\n

1955 \u2013 1965 \u2794 The Birth of the Machine<\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

In 1955, electronic music was a laboratory experiment. In 2025, it’s the default language of pop, club, film score, and even the sound of a TikTok scroll. This is not a complete history – it’s a mixtape of epitomes: one… Lexo →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86],"tags":[],"class_list":["post-20379","post","type-post","status-publish","format-standard","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/20379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20379"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/20379\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20379"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=20379"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=20379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}