Copyright © 1998-2000 by SloRAVEnia
ACID HOUSE ACID JAZZ AMBIENT BREAK BEAT CHICAGO DISCO/LOOP HOUSE DREAM HOUSE ENERGY ALTERNATIVE GABBER GARAGE GOA TRANCE HAPPY HARDCORE HIGH-ENERGY HOUSE JUMP UP JUNGLE PROGRESSIVE HOUSE SEXCORE TECHNO/TECHNO HOUSE TRANCE TRIBAL HOUSE
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This sound originated from Chicago in the mid-'80's. It's phased and gated quarter note percussion patterns generated by the Roland TBR303 808 and 909 bassline machines marked a milestone advancement in synthdriven dance music. The acid house sound was an overnight revolution and remains the cornerstone of the American underground scene. Hard, uncompromising, tweaking samples produce a hypnotic effect. Attributes: the Roland 303 drum machine signature sound. 118 to 130 BPM. |
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This is misleading name. There is nothing "acid like" about acid jazz. It is actually a fusion of old and new classic jazz riffs and scat vocals with funky hip hop beats and modern technology. During a true acid jazz set, a DJ may spin the latest Mo' Wax releases, funky, hip-hop, rap interspersed with Ella Fitzgerald or Harvey Mason. The key word here is fusion. Attributes: hip-hop or house rhythms live instrumentation, silky smooth arrangements, and an easy, flowing soulful energy. 80 to 126 BPM. |
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Mixing moody atmospheric sounds of new age and ambient music with pulsating house beats. It may or may not have a beat, and is primarily designed for a chilled out trip to synth-driven fantasy. Often combining natural and "found sounds" which can be looped through processors to create original unique sounds. Attributes: Very electronic and spacey, often featuring long sound effect, intros and breaks, and occasionally featuring mixes 20 minutes long (or more!). 1 to 140 BPM. |
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Breakbeat evolved from late '80's rave by combining hip-hop rhythms and mixing tricks (back, spins, ets.,) with techno-rave keyboards and sampling techniques. This style was revamped in 1998 by groups like Music Instructor, Solid Force, Sybtronic and other. Attributes: Funky rhythm tracks, lots of samples and choppy mixes, sped-up "chipmunk" vocal loops, frenetic explosive energy. 135 to 170 BPM. |
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In the city of Chicago, many DJ. s started to experiment with old disco records and mixed them with samples from bands like Kraftwerk and New Order. Through this, a new style evolved; 120 BPM, quadruple time, soul voices, and piano samples. Chicago is known for its characteristic original piano and voice samples. Some people like to refer this style as "old skool" house. Chicago was named after the "Warehouse Club", a disco in Chicago. In 1987, this new style traveled to Europe. Ever since, European DJ's have been spinning and experimenting with Chicago. Attributes: Simple basslines, driving four-on-the-floor percussion and textured keyboard lines are the basic elements of the original Chicago house sound. 100 to 130 BPM. |
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Disco house borrows heavily from classic late '70's e discos and funk, and is indicative of the current shift toward music with strong hooks and melodies, and a comfortable familiarity. Good feeling repetitive house, with core rhythm built around old disco samples. Attributes: Uses a disco arrangements style, house rhythms, and a techno sampling technique. 120 to 130 BPM. |
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This term was used for the first time by the Italian D.J. Gianni Parrini, at the end of 1993. D.J. Parrini is still the real leader of this style. DREAM HOUSE originally evolved from TRANCE. Usually down-beat, with soft melodic sounds and a sharp pounding drum beat. It also can have a heavenly female or choir voice. The cover-sleeves normally shows virtual landscapes, or relating to the cosmos. Frequently the dream can be fused with elements of techno or progressive music, resulting more fast with a vibrating bassline straight and running. This "mutated" style also got the name PROGRESSIVE MEDITERRANEAN, COSMIC-DREAM ... |
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These are titles that simply don't fit a simplified house, high-energy, dance-rock or techno devinition. Attributes: Very accessible sounding, usually using lots of synth-keyboards, and strong hooks and vocal arrangements to successfully combine elements of house, rock and techno. 100 to 140 BPM. |
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Gabber is basically the Belgian and Dutch form of house music. Imagine house music at 33RPM playing at 45RPM. In other words, it is very fast (around 220BPM). To describe this style, I would use the word "dark". The bass is really . kicky. and distortion effects are used to produce beats that sound like hammers pounding on a wall (with an echo), hardcore techno that is even faster than traditional hardcore. Some people like to call gabber "gabba" which is essentially the same thing. Gabber branches off to many other styles of music such as happy hardcore and terrorcore. Check out the Thunderdome and Terrordrome collection. |
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New York's version of deep house, named after legendary club the Paradise Garage. Similar to house but a bit slower and a usually a bit jazzier. May also be called the Jersey Sound due to the close connection many of its artists and producers have with New Jersey. "Garage" music was used to describe the style of music that was played there. This style of music is faithful to the old disco style and keeps it alive. Its characteristics are a lot of bass, vocals, keyboards and sometimes, even violins. These days Garage is popular in the UK and is slowly spreading across the European continent. Many other types have already evolved such as speed garage, acid... |
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Goa was born in Germany where trance also comes from. Trance grew in Germany. Goa is known for the peace, love, and sun. Trance was played on a lot of beach parties and because of its warm climate of "goa" vinyl would melt. The music was put on DAT and wasn't mixed and that's why the tracks have an intro, climax, and an outro. Goa trance is played all over the world and the public seem to enjoy it more because it is more relaxing and easy-listening style than other types of trance. A lot of various "branches" have been born with experimental mixing; voodoo trance, astral trance... |
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Happy Hardcore, a.k.a. (also known as) 4-Beat is a style of techno music that is very fast, very bouncy and a riot to dance to. It's extremely high-energy and when one dances to it, you feel almost like a puppet on strings moving uncontrolably to the music with your hands in the air and a smile on your face! It's origins date back to the early '90s in the UK to what is now know as old school hardcore. This hardcore began to split into different forms, such as Jungle which has enjoyed a growing following everywhere including North America. Typical characterists of happy hardcore music are: a driving 4/4 kick, usually (but not always) lots of piano and female vocals (making the music happy). Happy hardcore also features lots of break beats, although they are being dropped in favour of more techno sounds and stompy dutch inspired kicks. Basically, happy hardcore is the mainstream or the public version of gabber. But don't be mistaken, they are two different types of music. A lot of samples from old hit records, movies, piano and rap voices are the basic roots for happy hardcore. The first famous track was made by Charly Lownoise and Mental. Happy hardcore can range from 160BPM to 180BPM. |
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Disco never died, it split. At the beginining part became HI-NRG and part became house. Now HI-NRG took additional techno sound. This is the current evolution of disco that remained truest to it's mid'70'-disco roots and is the perennial musical staple of gay dance clubs. Attributes: strong melodies, pop female vocal arrangements, happy, uplifting energy, lots of remakes. 118 to 140 BPM. |
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This is by far; the most popular dance format. So much so, that there exists over a dozen related branches including New York dub, Chicago, New Jersey, Miami, garage, tribal, acid... in fact, almost every other format touches on house at some point because the steady 4/4 time signature beat is virtually universal in dance music. Attributes: the beat, keyboards, home synthesizers, male/female vocals, funky basslines, a 4/4 beat, synths/pianos. ... add any or all. What you add defnines what kind of house it is but what makes it house is it the beat around 115 to 125 BPM. |
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A very sample-happy style of jungle, often borrowing from hip-hop tunes and gangster flicks for an added dose of machismo to the wobbly bass lines and bouncy riddims.A constant source of debate amongst d'n'b heads, it is often criticized for being formulaic and relatively commercial, yet it's still a most popular entry point into Drum N' Bass for many American listeners who might relate to the samples and then get drawn deeper into the music. |
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Jungle is quite chaotic with the bassdrum on half speed. If your not used to it's hard to predict when there is a beat and/or bass. Jungle's origins are from England and it is named after the big concrete, metallic jungle city. Different mixes with reggae basslines, and time-stretched ragga vocals are divided into three categories: Drum 'n' Bass, Hardstep, and Intelligent jungle. Intelligent jungle can also be called 'artcore', which has a slight trance flavor into it. 145 to 170 BPM. |
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This is music that is too progressive to fit the general house definition yet not as dark or hard as trance or techno-house. Attributes: Trance styled keyboard synthesizer riffs and pads, house vocal loops and samples with driving, usually includes a big trancy breakdown electronic mid-tempo house rhythms. 120 to 135 BPM. |
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Sexcore is a sub-category hardcore/terrorcore but with sex samples from old porno records. It was popular in the West Coast of the US Similar characteristics as gabber, sexcore is categorized as underground music because it is not popular to the public and is harder to find. Ron D Core is pretty infamous for having some crazy records. He also spins terrorcore and the occasional retro hard acid set. 150 to 180 BPM. |
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Over the years and around the world the term TECHNO has come to mean many things to many people. The term was first cloned by Kraftwerk (also Moby...) to describe their unique use of technology in electronic and computerized instruments while making contemporary Pop Music. As techno evolved new terminology was required to make sense of all its variants. In time it stood for what now refers to "INDUSTRIAL" or "ELECTRONIC BODY MUSIC" and later still, for what is now considered the HOUSE, the sound originated in Detroit and Chicago in the mid-'80s. Pioneered by such luminaries as Juan Atkins, Kenny Larkin and Mike Wilson, techno has evolved from cutting edge underground ('84 to '89); to undisputed ruler of the American rave scene ('89 to '92), to mainstream "Top 40" acceptance. The commercial success of techno has also led to it's fall from grace in the underground scene, being replaced by trance, progressive house, and the strong resurgence of true house. Today the term TECHNO has come to mean fusion of all these styles and now TECHNO is the short from TECHNO-HOUSE. Attributes: Hard synth-keyboard riffs, pounding style basses, often combining male rap and female vocals and always delivering the most intense, frenetic eneregy possible. 130 to 150 BPM. |
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Trance evolved from German Techno, using the rolling bass and sizzling keyboards of techno to give the music a hypnotic flowing effect, yet retaining all the driving, pulsating energy of it's true techno roots. Attributes: synth/sample-driving, pounding basslines, complex cyber-sounding keyboards, usually instrumental. 128 to 150 BPM. |
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Tribal was popular in the early '90s, it took house rhythms and mixed it in tribal drumming loops with chant samples. Tribal music is defined by it's perscussion. The arrangements are often simple and repetitive and the energy is primal and driving. Attributes: Minimalist, striped down mixes and subtle melodies. Chanted vocal samples with heavy African, Asian, Brazilian, Indian or other ethnic flavor. 120 to 128 BPM. |
Copyright © 1998-2000 by SloRAVEnia