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Just came across this. Thought it was cool enough to share with the community:
genres
compiled by Matthew (Ritual Recordings) and edited by Jack MF (Galanta)
DISCO:
started in the late 60's. The term disco comes from "Dischoteque" which refered to specialised clubs that replaced live bands with a disc jockey and two phonographs. Naturally because these dischoteques were dance oriented, the music was a hybrid of latin rhythms such as bossa-nova, samba, and soul. The music gradually changed over time, eventually becoming more "track" based in true disco clubs (ie. relying more on percussion, then eventually rock based progressions in the late seventies. ) The former was the direct result of dj's such as Paradise Garage resident d.j., Larry Levan's evolving musical selection and dj style. As with most genres, disco was eventually corrupted by commercialism, racism, homophobia.
HIP HOP:
Seemed to evolve almost simultaneously in the Bronx in the early 70's. Early hip hop used disco breaks as well as early soul and funk. Early DJ's molded the disco sound by recording tracks in the studio, that used mostly percussive sections of dance music. This is probably where the idea of cutting came from in Hip-hop. While disco maintained an obvious latin influence, Hip- Hop was especially molded from the break in classic funk records.
GARAGE:
So called because these tracks were most often heard at the "Paradise Garage" in New York City before they became hits. Resident D.J. Larry Levan tended to choose disco tracks with with ethereal orchestrations, chunky funky baselines, rich gospel influenced vocals, and mixed it along with the occasional pop or rock record. Garage is the underlying force that originated house, and deep house. The old school, swing beat vocal based house sound. Originated in NY and New Jersey. Has recently mutated into the short lived Speed Garage, and now Two Step (which is more breakbeat and drum and bass influenced than house).
(Garage was a soulful dance genre created by combining the Gospel aesthetic with the Soul vibe...Early Garage was made with live musicians, hence making real garage tracks difficult to mix with. -JenB)
HOUSE:
was in the making in the early eightees almost simultaneously in Chicago and New York City/ New Jersey. The term HOUSE eventually got its name from a Chicago underground club called "The Wharehouse", and in Chicago around 1985-86 by people such as Frankie Knuckles, Marshall Jefferson and Mr. Fingers. At that time, the term house had double meaning in that these tracks were made at home and not in professional studios. Many famous tracks have that raw unpolished sound that gives House its gritty feel. Currently split off into so many mutations that "House" can be difficult for some to define.
(the term HOUSE gets its name from the Wharehouse...the original House club in Chicago...also gets its term from the idea that these tracks were made at home and not in professional studios, many famous tracks have that raw unpolished sound that gave House its gritty feel -Jen B.)
ACID HOUSE:
Acid house began in Chicago. While early NYC / New Jersey house was mainly percussion and samples (like Todd Terry's seminal Bango) Chicago began almost immediately to lean toward a new sound called "acid"... which is basically a term for the sounds you get by tweaking Roland's famous 303 bass synth in a certain way, resulting in a very warped trippy sound. Classic examples are records like Mr. Fingers "Washing Machine", Pierre's "Phantasy Girl" and Phuture's massive "Acid Trax" and "We are Phuture" all released on the seminal Chicago label Trax, for more info on trax (and a decent history of early Chicago House go to http://www.geocities.com/jahsonic/Trax.html
(Acid House got its strongest respect in London in the mid 80's...early "raves", called Acid House parties were held in abandoned wharehouses and farms all over England...flyers used the now-familiar Smiley face logo...these parties would last for entire weekends. Many of the above mentioned DJ's played most of their gigs in England as the English were more into this sound than Americans...In America the closest we see to this is the Hip-House movement of the same period. -JenB)
DEEP HOUSE:
a more atmospheric "deeper" version of the original aesthetic. The term "deep house" seemed to originate around 1987. Deep describes both the sound quality, with low rich bass, and the moodiness that emerges from it. Later, live instrumentation became common as an expression of it's cocktail jazz like roots. Example: Jungle Wonz, Liz Torrez, Masters at Work, Kevin Yost, Playin for the City, anything on Large Records, etc.
CHICAGO HOUSE:
The original sound from the Wharehouse combined soulful vocals, with Garage samples and European influences, like Kraftwerk and Telex. This "jackin" style of underground dance music, has since branched off into Booty House (due to labels like Dance Mania), which further mutated into the Underground Construction Label, DJ Irene style which has very little to do with true house. For the real Chicago sound see Derrick Carter, producers such as Cajmere/ a.k.a. Green Velvet, and labels such as Relief and Cajual.
DISCO HOUSE:
Virtually pioneered by Dj Sneak, original Disco House actually started around in 1991, and consisted of looped disco samples with more upfront "Chicago" style beats. The term "disco-house" became more popular around 1994, and has since been taken on by the French scene by the likes of Bob Sinclar and Daft Punk. Also see the live Disco sound pioneered the Idjut Boys, Crispin Glover, Faze Action and early releases on Nuphonic Records.
HARD HOUSE:
Originally it was just as it sounds, like a more hardcore minimal style based on the house approach. The term later defined the slightly more Rave orientated house, played initially by DJ's such as Osheen, James Christian, Junior Vasquez, & Robbie Tronco (circa 94-95). Since then, the term has been mopped up by less underground gay clubs as a result of Junior's popularity. Hard house typically refers to commercial club house with an obviously dated 1992 Belgian style sound.
PROGRESSIVE HOUSE:
Started in the Ibizia in 1988. Originally called Balleric beat, it wasn't called progressive house until around 92 and originally pioneered by Labels like Warp, Guerilla, Skinny Malinky etc. Early producers included Spooky (not the NY illbient fool) and Rhythm Invention. Despite the stigma attached to it now, early progressive house was quite decent, and was basically a more "progressive" (in the original sense of the word), "ravey" take on the house groove. Ultimately it became more and more based on silly breakdowns and builds and eventually was swallowed up by Progressive Trance.
TRIBAL HOUSE:
Tribal originally described music from the house scene which had heavy emphasis on afican tribal rhytms. The melodies and baselines relied upon those rhythms, often accompanied with tribal chanting. Tribal, exists in all forms of house and techno, and has only proven to be an exclusive genre of it's own in cycles.
TECHNO HOUSE:
a term that really sprung up in the 1990 era, originally got it's start in the late seventies. Artists such as Gioigio Moroder, and Telex, were obviously influenced by the German electronic act known as Kraftwerk. Hip- Hop as well as other forms of dance music in the early eightees were heavily influenced by this sound. Detroit really gave it a boost in the early eightees with producers like Juan Atkins and Kevin Saunderson. Basically, techno with a more house tempo and feel, that was played by dj's of both genres (which was a rarity back then)...eventually faded into Tech House.
NU HOUSE:
a little known term that was thrown around a bit in the 96-97 era. This was the point in time when the UK guys were particularly breaking boundaries house wise, and refers to the early records on labels such as Paper, Nuphonic, Pagan and Glasglow Underground. It was essentially a more polished, slightly progressive, less garage based house than the standard American stuff at the time (which incidentally was going thru one of its weakest moments). Some of these labels went on to become very jazzy and esoteric, others fed into the burgeoning tech house vibe. (props to Piekoz for reminding me of this period)
TECH HOUSE:
a completely ambivalent genre that basically describes any non trance 4/4 music that is neither pure house nor pure techno. Could mean many things...from deep to bangin. EXAMPLES: the End label, Cari Lekebusch, early Svek releases, Samuel Sessions, the Plastic City label, etc etc...The term is relatively new as is the growing movement behind it, but the sound has always existed to some degree...there's just a lot more of it lately.
UK HARD HOUSE:
This could be a lot of things, but mostly these days it seems to imply that Lisa Lashes, Tidy Trax style played by dj's like Tall Paul and Judge Jules. Sometimes is interchangeable with NU-NRG and Progressive Trance.
NU JAZZ:
A very new term that describes the ethnic, live sounding breakbeat orientated house that sounds essentially like electronic jazz. a lot of more recent SVEK releases sound like this.
TRANCE:
Originally a form of hypnotic house music in the late eightees, trance became more of a form of techno that relies more on melodies and less on percussion. Original trance (like R&S and Harthouse releases circa 92-93) sounded not too different from the techno at the time and was played mainly by techno dj's, but shortly after became more commercialized and broke off into its own genre (like the Platipus label). Like House, it consists of so many different styles these days that Trance itself is almost meaningless.
PROGRESSIVE TRANCE:
what progressive house morphed into...basically a more melodic take on trance that relies on obvious melody structure, breakdowns, etc...Paul Van Dyke, Oakenfold, Dave Ralph etc. The mostly forgotten term EPIC TRANCE is essentially just a more dramatic version of this.
DEEP TRANCE:
a reaction from progressive house DJ's that became opposed to the general cheesiness of Progressive Trance...a more house influenced trance, less breakdowns, moodier, slower, darker...Sasha (some of the time, at least) John Digweed, etc.
TECH TRANCE:
an relatively new genre pioneered by Timo Maas, a more percussive, techno influenced trance.
PSY TRANCE:
also, Goa trance. This actually may be the closest evolution of what trance originally was...very dense, psychedelic, acidic, usually dark. Tends to be faster than most trance, but also has it housey side.
ACID TRANCE:
Fast acidic trance, monotonous and vaguely techno based. Chris Liberator, etc. Also HARD TRANCE which is the same thing, less acid.
NU NRG:
somewhere between acid trance and UK HARD HOUSE...fast, acidic, lots of breakdowns.
HI NRG:
was developed in gay clubs (predominately white) was inspired by the frenetic colder pace of techno. Hi-NRG was a more upbeat enthusiastic, often rock based form of disco. PATRICK COWLEY, SYLVESTER.
TECHNO:
early form of dance music, came form disco in the late seventies. Disco that took a liking to the methods introduced by Kraftwerk into the underground dance scene in the mid seventies. Percussive and more minimal than other forms of dance music, the production end tends be more "industrial" sounding. Although it originated in the US, it become so much more widespread in Europe that is seems the vast majority of it is produced there. ADAM BEYER, SURGEON, CHRIS LIEBING. etc
TRIBAL TECHNO:
techno with tribal percussion elements. Originally from 1992, has become very popular lately due to the Swedish techno explosion a few years back. OLIVER HO, BEN SIMS, etc
DETROIT TECHNO:
was simply refered to as techno for the first few years, before locale became and issue. It started in the early eightees and loosely included electro within itself. It became important to specify "Detroit" techno as it's flavor became distinguishable from most European styles that emerged in the late eightees. Relative to it's European offspring, it's usually slower, more melodic or funky, although it definitely has no problem getting harcore. KEVIN SAUNDERSON, DERRICK MAY etc.
ACID TECHNO:
A mostly dead genre that was HUGE in 94-95. Harder techno with swelling warped acid lines. kicked off by HARDFLOORS massive hit "Acperience" it was produced across the board in all countries to the point where for a period oftime, when it was hard to find non-acidic techno. WOODY MCBRIDE, early MIKE DEARBORN, ACID JUNKIES, etc
MINIMAL TECHNO/MINIMAL HOUSE:
very stripped down, quirky straight beat music...big in the German production circuit...BASIC CHANNEL, MOSAIC records, PERLON, etc
INTELLIGENT TECHNO or IDM:
slower, sometimes breakbeat orientated, melodic techno-based electronic music....pioneered by WARP records and artists like AUTECHRE and BLACK DOG.
ELECTRO:
>An old school style that evolved out of techno and funk in the early eightees. It set the pace for Big Beat, Freestyle, and Miami Bass. Its always been a part of the Detroit Techno movement and been one of the favorite sons of the German producers.
BREAKS:
Breakbeats at about between 114- 126 BPM. Seemed to be a retro statement hailed in by old schoolers in the midst of the techno furver of the early ninetees. A hip-hop based sound linked the old-freestyle and big beat days to the new (at that time) Rave scene of the early ninetees. It was later adopted by commercial acts such as ICEY,BASS BIN TWINS, early CHEMICAL BROS, etc.
NU SCHOOL BREAKS:
a more sophisticated, darker house-speed breakbeat that draws influence from modern day Drum and Bass and electro, pioneered by ADAM FREELAND, RENNIE PILGRIM, Etc
BIG BEAT:
The term originally described the techno oriented New York hip-hop sound from the early eihtees, which was often accompanied by Electro. This later gave way to Freestyle in the mid eightees, and Miami Bass a year after that. New-Schoolers use the term to describe a slightly commercialized sound with big heavy breaks and rock sounding guitar type riffs. A mostly extinct genre that spring up a few years ago, it got a ton of attention but didn't last too long. FAT BOY SLIM, CHEMICAL BROTHERS, PROPELLERHEADS
DOWNTEMPO / TRIP HOP:
Hip Hop speed breaks, often with jazz influences...pioneered by labels such as MO' WAX and NINJA TUNE. The original trip- hop was more of a super psychedelic ambient or atmospheric sound with slow heavy breaks.
DRUM AND BASS:
Fast breakbeats with half time bassline work. Evolved out of the early rave breaks sometimes referred to as Hardcore. HYPE, OPTICAL, ANDY C, DIESELBOY etc
TECHSTEP:
the most common modern drum and bass sound, industrial breakbeats and terrorist basslines. Created by Trace and Ed Rush (well, they coined the term at least) BAD COMPANY, DOM AND ROLAND, etc
INTELLIGENT DRUM AND BASS:
Melodic and/or jazzy drum and bass, pioneered by LTJ BUKEM.
HARDSTEP:
>Aggressive Drum and Bass, with less overt distorted basslines than Tech Step...basically, Tech Steps precursor.
JUMP UP:
A more accessible hip hop influenced take on drum and bass, made popular by DJ's like Hype and Zinc.
RAGGA:
old school drum and bass, the mutation that caused the term "jungle" to start back in 94...lots of reggea and dub samples.
AMBIENT:
a genre that precedes virtually all the above (except for disco. Although it was present in early Kraftwerk recordings in the late sixties, the term wasn't coined until the late 70's, by Brian Eno. Originally, ambient music was beatless. Ambient house was born in 1990, which eventually gave way to low tempo break beats by the Rave and EDM scene in 1991-92. ORB, BIOSPHERE, GAS, VIDNA OBMANA
HARDCORE:
techno that has been scientifically stripped to the bare minimum with bpms at around 155 or more. Hardcore can also describe har forms of other genres, (i.e. harcore breakbeat, hardcore house, etc.)
GABBER:
The form of hardcore most people recognize. Big, distorted 909 kicks, rave stabs, samples etc. A simplified version of the genre. Also known as ROTTERDAM, was also very big in Brooklyn due to the INDUSTRIAL STRENGTH label. MOKEM, TERRORTRAX, etc
SPEEDCORE:
As its names suggests, very fast Hardcore, 200 bpms plus. Usually more raw and erratic than Gabber.
NOISECORE:
Really brutal, industrial Hardcore. Has some crossover into the experimental realm of POWER ELECTRONICS (a non dance orientated form of electronic music) the NAPALM label is a good example.
HAPPY HARDCORE:
As the name suggests, a "happy" form of Hardcore. Harcore breakbeats accompanied by samples alluding to childhood. Originally a tongue in cheek way for the convergence of ravers to revel in their attempt to out smart the cops, now many degrees removed from it's original intent. A clever idea at first, has become a relentless anthem of corny piano riffs for naive candy ravers going into convulsion.
genres
compiled by Matthew (Ritual Recordings) and edited by Jack MF (Galanta)
DISCO:
started in the late 60's. The term disco comes from "Dischoteque" which refered to specialised clubs that replaced live bands with a disc jockey and two phonographs. Naturally because these dischoteques were dance oriented, the music was a hybrid of latin rhythms such as bossa-nova, samba, and soul. The music gradually changed over time, eventually becoming more "track" based in true disco clubs (ie. relying more on percussion, then eventually rock based progressions in the late seventies. ) The former was the direct result of dj's such as Paradise Garage resident d.j., Larry Levan's evolving musical selection and dj style. As with most genres, disco was eventually corrupted by commercialism, racism, homophobia.
HIP HOP:
Seemed to evolve almost simultaneously in the Bronx in the early 70's. Early hip hop used disco breaks as well as early soul and funk. Early DJ's molded the disco sound by recording tracks in the studio, that used mostly percussive sections of dance music. This is probably where the idea of cutting came from in Hip-hop. While disco maintained an obvious latin influence, Hip- Hop was especially molded from the break in classic funk records.
GARAGE:
So called because these tracks were most often heard at the "Paradise Garage" in New York City before they became hits. Resident D.J. Larry Levan tended to choose disco tracks with with ethereal orchestrations, chunky funky baselines, rich gospel influenced vocals, and mixed it along with the occasional pop or rock record. Garage is the underlying force that originated house, and deep house. The old school, swing beat vocal based house sound. Originated in NY and New Jersey. Has recently mutated into the short lived Speed Garage, and now Two Step (which is more breakbeat and drum and bass influenced than house).
(Garage was a soulful dance genre created by combining the Gospel aesthetic with the Soul vibe...Early Garage was made with live musicians, hence making real garage tracks difficult to mix with. -JenB)
HOUSE:
was in the making in the early eightees almost simultaneously in Chicago and New York City/ New Jersey. The term HOUSE eventually got its name from a Chicago underground club called "The Wharehouse", and in Chicago around 1985-86 by people such as Frankie Knuckles, Marshall Jefferson and Mr. Fingers. At that time, the term house had double meaning in that these tracks were made at home and not in professional studios. Many famous tracks have that raw unpolished sound that gives House its gritty feel. Currently split off into so many mutations that "House" can be difficult for some to define.
(the term HOUSE gets its name from the Wharehouse...the original House club in Chicago...also gets its term from the idea that these tracks were made at home and not in professional studios, many famous tracks have that raw unpolished sound that gave House its gritty feel -Jen B.)
ACID HOUSE:
Acid house began in Chicago. While early NYC / New Jersey house was mainly percussion and samples (like Todd Terry's seminal Bango) Chicago began almost immediately to lean toward a new sound called "acid"... which is basically a term for the sounds you get by tweaking Roland's famous 303 bass synth in a certain way, resulting in a very warped trippy sound. Classic examples are records like Mr. Fingers "Washing Machine", Pierre's "Phantasy Girl" and Phuture's massive "Acid Trax" and "We are Phuture" all released on the seminal Chicago label Trax, for more info on trax (and a decent history of early Chicago House go to http://www.geocities.com/jahsonic/Trax.html
(Acid House got its strongest respect in London in the mid 80's...early "raves", called Acid House parties were held in abandoned wharehouses and farms all over England...flyers used the now-familiar Smiley face logo...these parties would last for entire weekends. Many of the above mentioned DJ's played most of their gigs in England as the English were more into this sound than Americans...In America the closest we see to this is the Hip-House movement of the same period. -JenB)
DEEP HOUSE:
a more atmospheric "deeper" version of the original aesthetic. The term "deep house" seemed to originate around 1987. Deep describes both the sound quality, with low rich bass, and the moodiness that emerges from it. Later, live instrumentation became common as an expression of it's cocktail jazz like roots. Example: Jungle Wonz, Liz Torrez, Masters at Work, Kevin Yost, Playin for the City, anything on Large Records, etc.
CHICAGO HOUSE:
The original sound from the Wharehouse combined soulful vocals, with Garage samples and European influences, like Kraftwerk and Telex. This "jackin" style of underground dance music, has since branched off into Booty House (due to labels like Dance Mania), which further mutated into the Underground Construction Label, DJ Irene style which has very little to do with true house. For the real Chicago sound see Derrick Carter, producers such as Cajmere/ a.k.a. Green Velvet, and labels such as Relief and Cajual.
DISCO HOUSE:
Virtually pioneered by Dj Sneak, original Disco House actually started around in 1991, and consisted of looped disco samples with more upfront "Chicago" style beats. The term "disco-house" became more popular around 1994, and has since been taken on by the French scene by the likes of Bob Sinclar and Daft Punk. Also see the live Disco sound pioneered the Idjut Boys, Crispin Glover, Faze Action and early releases on Nuphonic Records.
HARD HOUSE:
Originally it was just as it sounds, like a more hardcore minimal style based on the house approach. The term later defined the slightly more Rave orientated house, played initially by DJ's such as Osheen, James Christian, Junior Vasquez, & Robbie Tronco (circa 94-95). Since then, the term has been mopped up by less underground gay clubs as a result of Junior's popularity. Hard house typically refers to commercial club house with an obviously dated 1992 Belgian style sound.
PROGRESSIVE HOUSE:
Started in the Ibizia in 1988. Originally called Balleric beat, it wasn't called progressive house until around 92 and originally pioneered by Labels like Warp, Guerilla, Skinny Malinky etc. Early producers included Spooky (not the NY illbient fool) and Rhythm Invention. Despite the stigma attached to it now, early progressive house was quite decent, and was basically a more "progressive" (in the original sense of the word), "ravey" take on the house groove. Ultimately it became more and more based on silly breakdowns and builds and eventually was swallowed up by Progressive Trance.
TRIBAL HOUSE:
Tribal originally described music from the house scene which had heavy emphasis on afican tribal rhytms. The melodies and baselines relied upon those rhythms, often accompanied with tribal chanting. Tribal, exists in all forms of house and techno, and has only proven to be an exclusive genre of it's own in cycles.
TECHNO HOUSE:
a term that really sprung up in the 1990 era, originally got it's start in the late seventies. Artists such as Gioigio Moroder, and Telex, were obviously influenced by the German electronic act known as Kraftwerk. Hip- Hop as well as other forms of dance music in the early eightees were heavily influenced by this sound. Detroit really gave it a boost in the early eightees with producers like Juan Atkins and Kevin Saunderson. Basically, techno with a more house tempo and feel, that was played by dj's of both genres (which was a rarity back then)...eventually faded into Tech House.
NU HOUSE:
a little known term that was thrown around a bit in the 96-97 era. This was the point in time when the UK guys were particularly breaking boundaries house wise, and refers to the early records on labels such as Paper, Nuphonic, Pagan and Glasglow Underground. It was essentially a more polished, slightly progressive, less garage based house than the standard American stuff at the time (which incidentally was going thru one of its weakest moments). Some of these labels went on to become very jazzy and esoteric, others fed into the burgeoning tech house vibe. (props to Piekoz for reminding me of this period)
TECH HOUSE:
a completely ambivalent genre that basically describes any non trance 4/4 music that is neither pure house nor pure techno. Could mean many things...from deep to bangin. EXAMPLES: the End label, Cari Lekebusch, early Svek releases, Samuel Sessions, the Plastic City label, etc etc...The term is relatively new as is the growing movement behind it, but the sound has always existed to some degree...there's just a lot more of it lately.
UK HARD HOUSE:
This could be a lot of things, but mostly these days it seems to imply that Lisa Lashes, Tidy Trax style played by dj's like Tall Paul and Judge Jules. Sometimes is interchangeable with NU-NRG and Progressive Trance.
NU JAZZ:
A very new term that describes the ethnic, live sounding breakbeat orientated house that sounds essentially like electronic jazz. a lot of more recent SVEK releases sound like this.
TRANCE:
Originally a form of hypnotic house music in the late eightees, trance became more of a form of techno that relies more on melodies and less on percussion. Original trance (like R&S and Harthouse releases circa 92-93) sounded not too different from the techno at the time and was played mainly by techno dj's, but shortly after became more commercialized and broke off into its own genre (like the Platipus label). Like House, it consists of so many different styles these days that Trance itself is almost meaningless.
PROGRESSIVE TRANCE:
what progressive house morphed into...basically a more melodic take on trance that relies on obvious melody structure, breakdowns, etc...Paul Van Dyke, Oakenfold, Dave Ralph etc. The mostly forgotten term EPIC TRANCE is essentially just a more dramatic version of this.
DEEP TRANCE:
a reaction from progressive house DJ's that became opposed to the general cheesiness of Progressive Trance...a more house influenced trance, less breakdowns, moodier, slower, darker...Sasha (some of the time, at least) John Digweed, etc.
TECH TRANCE:
an relatively new genre pioneered by Timo Maas, a more percussive, techno influenced trance.
PSY TRANCE:
also, Goa trance. This actually may be the closest evolution of what trance originally was...very dense, psychedelic, acidic, usually dark. Tends to be faster than most trance, but also has it housey side.
ACID TRANCE:
Fast acidic trance, monotonous and vaguely techno based. Chris Liberator, etc. Also HARD TRANCE which is the same thing, less acid.
NU NRG:
somewhere between acid trance and UK HARD HOUSE...fast, acidic, lots of breakdowns.
HI NRG:
was developed in gay clubs (predominately white) was inspired by the frenetic colder pace of techno. Hi-NRG was a more upbeat enthusiastic, often rock based form of disco. PATRICK COWLEY, SYLVESTER.
TECHNO:
early form of dance music, came form disco in the late seventies. Disco that took a liking to the methods introduced by Kraftwerk into the underground dance scene in the mid seventies. Percussive and more minimal than other forms of dance music, the production end tends be more "industrial" sounding. Although it originated in the US, it become so much more widespread in Europe that is seems the vast majority of it is produced there. ADAM BEYER, SURGEON, CHRIS LIEBING. etc
TRIBAL TECHNO:
techno with tribal percussion elements. Originally from 1992, has become very popular lately due to the Swedish techno explosion a few years back. OLIVER HO, BEN SIMS, etc
DETROIT TECHNO:
was simply refered to as techno for the first few years, before locale became and issue. It started in the early eightees and loosely included electro within itself. It became important to specify "Detroit" techno as it's flavor became distinguishable from most European styles that emerged in the late eightees. Relative to it's European offspring, it's usually slower, more melodic or funky, although it definitely has no problem getting harcore. KEVIN SAUNDERSON, DERRICK MAY etc.
ACID TECHNO:
A mostly dead genre that was HUGE in 94-95. Harder techno with swelling warped acid lines. kicked off by HARDFLOORS massive hit "Acperience" it was produced across the board in all countries to the point where for a period oftime, when it was hard to find non-acidic techno. WOODY MCBRIDE, early MIKE DEARBORN, ACID JUNKIES, etc
MINIMAL TECHNO/MINIMAL HOUSE:
very stripped down, quirky straight beat music...big in the German production circuit...BASIC CHANNEL, MOSAIC records, PERLON, etc
INTELLIGENT TECHNO or IDM:
slower, sometimes breakbeat orientated, melodic techno-based electronic music....pioneered by WARP records and artists like AUTECHRE and BLACK DOG.
ELECTRO:
>An old school style that evolved out of techno and funk in the early eightees. It set the pace for Big Beat, Freestyle, and Miami Bass. Its always been a part of the Detroit Techno movement and been one of the favorite sons of the German producers.
BREAKS:
Breakbeats at about between 114- 126 BPM. Seemed to be a retro statement hailed in by old schoolers in the midst of the techno furver of the early ninetees. A hip-hop based sound linked the old-freestyle and big beat days to the new (at that time) Rave scene of the early ninetees. It was later adopted by commercial acts such as ICEY,BASS BIN TWINS, early CHEMICAL BROS, etc.
NU SCHOOL BREAKS:
a more sophisticated, darker house-speed breakbeat that draws influence from modern day Drum and Bass and electro, pioneered by ADAM FREELAND, RENNIE PILGRIM, Etc
BIG BEAT:
The term originally described the techno oriented New York hip-hop sound from the early eihtees, which was often accompanied by Electro. This later gave way to Freestyle in the mid eightees, and Miami Bass a year after that. New-Schoolers use the term to describe a slightly commercialized sound with big heavy breaks and rock sounding guitar type riffs. A mostly extinct genre that spring up a few years ago, it got a ton of attention but didn't last too long. FAT BOY SLIM, CHEMICAL BROTHERS, PROPELLERHEADS
DOWNTEMPO / TRIP HOP:
Hip Hop speed breaks, often with jazz influences...pioneered by labels such as MO' WAX and NINJA TUNE. The original trip- hop was more of a super psychedelic ambient or atmospheric sound with slow heavy breaks.
DRUM AND BASS:
Fast breakbeats with half time bassline work. Evolved out of the early rave breaks sometimes referred to as Hardcore. HYPE, OPTICAL, ANDY C, DIESELBOY etc
TECHSTEP:
the most common modern drum and bass sound, industrial breakbeats and terrorist basslines. Created by Trace and Ed Rush (well, they coined the term at least) BAD COMPANY, DOM AND ROLAND, etc
INTELLIGENT DRUM AND BASS:
Melodic and/or jazzy drum and bass, pioneered by LTJ BUKEM.
HARDSTEP:
>Aggressive Drum and Bass, with less overt distorted basslines than Tech Step...basically, Tech Steps precursor.
JUMP UP:
A more accessible hip hop influenced take on drum and bass, made popular by DJ's like Hype and Zinc.
RAGGA:
old school drum and bass, the mutation that caused the term "jungle" to start back in 94...lots of reggea and dub samples.
AMBIENT:
a genre that precedes virtually all the above (except for disco. Although it was present in early Kraftwerk recordings in the late sixties, the term wasn't coined until the late 70's, by Brian Eno. Originally, ambient music was beatless. Ambient house was born in 1990, which eventually gave way to low tempo break beats by the Rave and EDM scene in 1991-92. ORB, BIOSPHERE, GAS, VIDNA OBMANA
HARDCORE:
techno that has been scientifically stripped to the bare minimum with bpms at around 155 or more. Hardcore can also describe har forms of other genres, (i.e. harcore breakbeat, hardcore house, etc.)
GABBER:
The form of hardcore most people recognize. Big, distorted 909 kicks, rave stabs, samples etc. A simplified version of the genre. Also known as ROTTERDAM, was also very big in Brooklyn due to the INDUSTRIAL STRENGTH label. MOKEM, TERRORTRAX, etc
SPEEDCORE:
As its names suggests, very fast Hardcore, 200 bpms plus. Usually more raw and erratic than Gabber.
NOISECORE:
Really brutal, industrial Hardcore. Has some crossover into the experimental realm of POWER ELECTRONICS (a non dance orientated form of electronic music) the NAPALM label is a good example.
HAPPY HARDCORE:
As the name suggests, a "happy" form of Hardcore. Harcore breakbeats accompanied by samples alluding to childhood. Originally a tongue in cheek way for the convergence of ravers to revel in their attempt to out smart the cops, now many degrees removed from it's original intent. A clever idea at first, has become a relentless anthem of corny piano riffs for naive candy ravers going into convulsion.
thats insane FM!!!
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