Question: Which music genres would 'We Found Love' fall into?
About the article "We Found Love", section "Composition".

Candidate passages:
Rebecca & Fiona is a Swedish DJ duo from Stockholm.
At the heart of the music Rebecca Scheja and Fiona Fitzpatrick make as Rebecca & Fiona is their friendship.
The pair met through a mutual friend over six years ago in their hometown of Stockholm and immediately connected over life, music and everything in between.
Both were grounded in the Swedish DJ scene, promoting club nights around town, and eventually transformed their connection to the genre by creating music of their own.
The duo released their first single, “Luminary Ones,” in May of 2010 and scored an opening slot for Robyn on her European Tour.
Their sound expanded on buoyant debut album I Love You, Man, which was released in the U.S. in the spring of 2012.
Now Rebecca & Fiona’s second album, Beauty Is Pain, reveals a continuation in their friendship and an evolution in their music.
The pair has been touring extensively since 2011, trekking around the U.S., Asia, Australia and Europe, and performing alongside artists like Tiësto, Kaskade, Axwell and Steve Angello.
Their travels have brought them to festivals like Electric Daisy Carnival, Tomorrowland and Beyond Wonderland, but in between all these shows -- in hotel rooms and on airplanes -- Rebecca and Fiona focused on writing, always interested in capturing new ideas for their next album.
Beauty Is Pain is the product of two years’ worth of writing, mostly captured in the duo’studio in Sweden last fall.
There was no specific vision going in, just the hope to create a cohesive narrative work that reflected the producers’ continually expanding skill.“We’ve always been just producing what comes out of us,” Rebecca says.
“We just do what we feel is great.
We never look for what other people want or what we should do.
It’s completely us.
We develop it together.
We have never sat down and talked about what we should make, or what would be good for us to make.”“We really wanted to make a whole story,” Fiona adds.
“The first album was a lot of different songs that have popped up from a lot of different places.
With this album we wanted to direct it so it would be more whole where all the songs made sense together.
Everything should be connected visually and musically.”The musicians collaborated with several other producers and co-writers during the process, including Kurt Uenala, Adrian Lux, Simon Yemane, The Loops Of Fury, Panda Da Panda, Duvchi and Cristian Dinamarca.
Swedish producer Carli was deeply involved in the process and helped mix the final product.
In the studio, Rebecca and Fiona took the demos they’d been creating on the road and transformed them into vibrant, layered tracks that embrace a variety of styles and influences using synths, programming and real instruments.
The pair even enlisted musician Gustav Bendt to play saxophone on several tracks.
There is an overall pop tone to the album, embellished by EDM, rave and indie sensibilities.“We have become much better producers,” Rebecca says.
“In the beginning when you write you have to find your own voice.
It took a while for both of us to find what we thought was cool and interesting and unique, and to learn what sounds we liked from different genres.
You have to combine the stuff you like from everything and create your own sound from that, and that’s what we did on this album.”First single “Candy Love” is a pulsing club anthem while its follow-up single “Holler” is a soaring ambient number with an infectiously propulsive beat, both revealing the hook-laden pop aesthetic of the album.
The songs veer from heart-racing jam to slower ballad, drawing inspiration from ‘80s and ‘90s sounds, while embodying a punk-like attitude beneath the music itself.
In the midst of the album, “Dreams” surges with a compellingly catchy melody and rousing chorus, underscoring the overall vision of Rebecca & Fiona’s music.“We want our music to be empowering for people who feel insecure or alone or feel different,” Fiona says.
“Our music is the story of how we became self-secure by enjoying the people we are and how we look and what we’re good at.
We engage in what we like to do and we want to spread that to other people.
We want all the stories to be told.
What’s most important is that fans can find their favorite track and they get to interpret how it speaks to them.”For the producers, this is the most important aspect of Beauty Is Pain, which they hope can be experienced as a complete piece rather than as singles.
The duo’s live shows, which they treatas unique, individual experiences, connect these tracks to their earlier work, coming together with an overarching sense of empowerment.“We’re really aware of what we do,” Rebecca says.
“It’s important for women and young people.
We stand up for what we think and believe, and we want to inspire young people to do cool stuff and develop their interests.
We want to inspire people to not let anything hold them back.
Our message is to look into yourself and discover what you want to do.
That’s theway we live and make our music.” 
The Saturdays' debut album, "Chasing Lights" takes influence from a number of genres such as, synthpop, power pop, and New Wave.
The album also takes a big electropop and dance-pop influence.
Upon the release of the album, it was compared to Girls Aloud, Sugababes and Spice Girls.
However, the band refused to accept that their music had comparisons.
The band's debut single, "If This Is Love," features elements of synthpop and New Wave genres.
Many critics pointed out that they believe that the band's music would appeal more to the gay community.
However, the band's music has taken criticism from some; Sir Elton John labelled the band's music "crap" and stated that he could hardly tell the difference between Girls Aloud's music and The Saturdays' music.
Upon the release of the second album, "Wordshaker" the band released a pop rock track, "Forever Is Over".
The album was also said to be a laid-back electro poppy offering that recalls the more subdued moments from their debut album."
Talking about the album and the single "Ego"; We were searching for sounds and found the basic hook sound that’s in the verse and carries all the way through.
I started playing along to it and then Ina started singing along, and the song was written over that.
No drums were ever put down."
"Headlines!"
was released in 2010, which was the band's first Extended play on the EP, the band have made use of auto-tuning on their vocals, most notable on "Missing You" and "Higher" They said about the music on "Headlines!"
"We finished ["Wordshaker"] and we'd come across some songs that we were really excited about.
The songs that we had found were so current, and we'd written a couple of songs ourselves, we wanted to just get everything out now".
The synth-laden "Higher" has become an instant fan fave following recent live performances and, with its infectious chorus and super-sassy lyrics.
With third album "On Your Radar", the group said they were beginning to take risks in their music genre.
They spoke; "I think every artist needs to, sort of, reinvent themselves and we don’t want any track to sound like it could have been on our previous albums.
It’s going to be a step up from the last album but we’ll keep it The Saturdays-esque."
The band described the songs lyrics as "playful" with a "drop-out chorus" and the song is often labelled "it’s a very cool" by the band.
They described their album as "current", "fun", "naughty" and "girly".
"Notorious" was described by critics "big" and that it was "quite amazing".
Their new music was also compared to Rihanna, The Black Eyed Peas and Kelis' music.
The Saturdays also teamed up with MNEK and Space Cowboy in order to help them to record "club bangers".
"All Fired Up" is an electro house and dance-pop track.
Britney Spears, Rihanna, Adele, John Mayer, Katy Perry, Beyoncé and Kelly Rowland are all influences to the group. 
By 1981, a new form of dance music was developing.
This music, made using electronics, is a style of popular music commonly played in dance music nightclubs, radio stations, shows and raves.
During its gradual decline in the late 1970s, disco became influenced by computerization (the first notable fully synthesized disco hit was "I Feel Love" by Donna Summer).
Looping, sampling and segueing as found in disco continued to be used as creative techniques within trance music, techno music and especially house music.
Electronic dance music experienced a boom after the proliferation of personal computers in the 1980s, manifest in the dance element of Tony Wilson's Haçienda scene (in Manchester) and London clubs like Delirium, The Trip, and Shoom.
The ongoing influence of Shoom can be seen in its 25th anniversary party, held at Cable Nightclub on 8 December 2012, which sold out in four days.
The scene rapidly expanded to the Summer Of Love in Ibiza, which became the European capital of house and trance.
Clubs like Sundissential and Manumission became household names with British, German and Italian tourists.
Many music genres that made use of electronic instruments developed into contemporary styles mainly due to the MIDI protocol, which enabled computers, synthesizers, sound cards, samplers, and drum machines to interact with each other and achieve the full synchronization of sounds.
Electronic dance music is typically composed using computers and synthesizers, and rarely has any physical instruments.
Instead, this is replaced by digital or electronic sounds, with a 4/4 beat.
Many producers of this kind of music however, such as Darren Tate and MJ Cole, were trained in classical music before they moved into the electronic medium.
Associated with dance music are usually commercial tracks that may not easily be categorized, such as "The Power" by Snap!, "No Limit" by 2 Unlimited, "Gonna Make You Sweat (Everybody Dance Now)" by C+C Music Factory, and the Beatmasters' "Rok Da House" but the term "dance music" is applied to many forms of electronic music, both commercial and non-commercial.
Some of the most popular upbeat genres include house, techno, drum & bass, jungle, hardcore, electronica, industrial, breakbeat, trance, psychedelic trance, UK garage and electro.
There are also much slower styles, such as downtempo, chillout and nu jazz.
Many sub-genres of electronic dance music have evolved.
Sub-genres of house include acid house, electro house, hard house, funky house, deep house, tribal house, hip house, tech house and US garage.
Sub-genres of drum & bass include techstep, hardstep, jump-up, intelligent D&B/atmospheric D&B, liquid funk, sambass, drumfunk, neurofunk and ragga jungle.
Sub-genres of other styles include progressive breaks, rave breaks, booty bass, goa trance, Euro-trance, hard trance, hardstyle, minimal techno, gabber techno, breakcore, broken beat, trip hop, folktronica and glitch.
Speed garage, breakstep, 2-step, bassline, grime, UK funky, future garage and the reggae-inspired dubstep are all sub-genres of UK garage. 
Over years of their career, Westlife's music had evolved from teen pop to a pop sound, and blues with an emphasis on ballads.
The band identified themselves as a pop band recording pop songs which sometimes comprises ballads and love songs.
Westlife is known for their teen pop songs during their early days with slow, mid, and uptempo songs.
Albums of theirs known for teen pop sound include, "Westlife", "Coast to Coast", "World of Our Own" and "Turnaround".
As the years progressed they tried different genres such as jazz and big band with their "Allow Us to Be Frank" album in 2004 and pop-rock in 2009 with their album "Where We Are".
As they matured, they verged into adult contemporary, most evident on their cover album, "The Love Album".
Matured pop songs are also found on their LPs, "Face to Face" and "Back Home", and "Gravity".
Filan answered when he was asked about the radical change in their music: "We’ve definitely changed – our music has evolved, but not drastically.
Westlife is never going to drastically change, but I think we can get more exciting, different and more fun for the fans.
"During their starting days, the band's musical content was mostly about love and inspirational songs but as they grew older, they took the chance to have songs that were from an individual's everyday experience in life.
Most of the group's hits were composed by experienced songwriters, most notably Steve Mac and Wayne Hector. 
WONY's music department is separated into genres, with each genre having its own director.
Each director is responsible for maintaining a suitable rotation for their genre as well as charting.
After the Fall 2009 semester, the punk rotation was removed.
Genres and directors for the 2013-2014 school year are: