Afro House is a sub-genre of house music that originated in South Africa and incorporates African elements and rhythms into the electronic dance music framework. Sub-genres: Afro Tech, Afro Deep, Afro Soulful, Afro Tribal, Afro Funk, Afro Latin, Kwaito, Gqom, Amapiano.

Afro House

Amapiano

Bass House is a sub-genre of house music that emphasizes heavy basslines and hard-hitting beats. Here's a list of some of these styles: UK Bass House, Future House, Wobble House, Garage House, Breaks-infused Bass House, Dark Bass House.111

Bass House / Future House

Rhythmic, beat-driven electronic music with syncopated patterns.	Sub-genres: Big Beat, Nu Skool Breaks, Progressive Breaks, Florida Breaks, Atmospheric Breaks.

Breaks / Breakbeat

Dance / Pop

A soulful, melodic variant of house music with smooth chords. Sub-Genres: Tribal Deep House, Afro Deep House, Deep Tech House.

Deep House

Tracks or elements designed for DJs to use in live performances. Acapellas, Loops, Samples, DJ Intros/Outros.

DJ Tools

Fast-paced electronic music with breakbeats and heavy basslines. Liquid, Neurofunk, Jump Up, Jungle, Techstep, Darkstep, Drumfunk, Atmospheric DnB, Dancefloor DnB.

Drum and Bass

Electronic music with heavy basslines, and syncopated rhythms. Sub-genres: Brostep, Riddim, Chillstep, Melodic Dubstep, Wonky, Deathstep, Glitchstep, Deep Dubstep.

Dubstep / Bass / Grime

An early form of electronic dance music with futuristic themes. Detroit Techno, Electro Funk, Electro Breaks, Electroclash.

Electro (Classic / Detroit)

Energetic, hard-hitting dance music with heavy basslines. Sub-Genres: Progressive Electro House, Complextro, Dutch House, Fidget House, Dirty Dutch, Melbourne Bounce.

Electro House / Big Room

Diverse, experimental electronic music with various influences: IDM, Ambient, Downtempo, Glitch, Trip Hop, Breakcore, Experimental, Soundscapes.

Electronica

Upbeat house music with disco, funk, and soul elements. Sub-Genres: Disco House, French House, Filter House, Glitch House, Chicago House.

Funky / Jackin' House

High-energy electronic music with aggressive beats and tempo. Happy Hardcore, Gabber, Hardstyle, UK Hardcore, J-core, Powerstomp, Speedcore, Terrorcore, Breakcore.

Hardcore / Hard Dance

Intense techno variant with faster tempos and heavier beats. Sub-Genres: Schranz, Industrial Techno, Dark Techno, Power Noise.

Hard Techno

Electronic dance music with 4/4 beats and repetitive rhythms. Classic House, Acid House, Vocal House, Chicago House, New York House, Swing House.

House

Electronic music with indie, alternative, and disco influences. Sub-Genres: Synthwave, Italo Disco, Coldwave, Dark Wave, New Wave, EBM.

Indie Dance / Dark Disco

Experimental, unconventional electronic music. Sub-Genres: Leftfield Bass, Leftfield House & Techno, Avant-garde, Musique Concrète, Drone Music.

Leftfield

Relaxing, downtempo electronic music for casual listening. Ambient House, Trip Hop, Downtempo, Balearic, Lo-fi, Nu Jazz.

Lounge / Chill Out

A blend of house and techno with strong melodies and harmonies.	Sub-Genres: Progressive Melodic House, Deep Melodic Techno, Uplifting Melodic Techno.

Melodic House / Techno

Minimalist house music with intricate, glitchy sounds. Minimal Techno, RoMinimal, Clicks & Cuts, Glitch House, Intelligent Dance Music (IDM)

Microhouse

Sparse, stripped-down electronic music with repetitive patterns. Sub-Genres: Minimal House, Microhouse, RoMinimal, Glitch, Ambient Techno

Minimal / Deep Tech

Modern disco and funk-inspired electronic music. Disco House, Funky House, Re-edits, Modern Funk, Boogie, Future Funk, Electro Funk.

Nu-Disco / Soul / Funk

House music with natural, organic sounds and world music elements. Downtempo, Ethnic House, World Electronica, Afro House, Tribal House

Organic House / Downtempo

Evolving, melodic house music with long builds and breakdowns. Sub-Genres: Dream Progressive House, Dark Progressive House, Progressive Trance, Progressive Breaks.

Progressive House

Psy-Trance

House music with a strong soul, gospel, and jazz influences. Sub-Genres: Gospel House, Vocal Soulful House, Jazzy House, Latin House.

Soulful House

Electronic-infused soul, R&B, and hip-hop tracks. Neo-Soul, Future R&B, Instrumental Hip-Hop, Alternative R&B, Trap, Trip Hop, and Grime.

Soul / R&B / Hip-Hop

A fusion of house and techno with an emphasis on percussion. Sub-Genres: Tribal Tech House, Deep Tech House, Minimal Tech House, Acid Tech House, Dub Tech House.

Tech House

Energetic techno with driving beats and strong rhythmic elements. Hard Techno, Detroit Techno, Minimal Techno, Acid Techno, Rave Techno.

Techno (Peak Time)

More stripped-down, atmospheric, and dub-influenced techno. Sub-Genres: Dub Techno, Hypnotic Techno, Ambient Techno, Deep Techno, Experimental Techno.

Techno (Raw, Deep, Dub)

Melodic, uplifting electronic dance music with a fast tempo. Progressive Trance, Uplifting Trance, Psytrance, Vocal Trance, Hard Trance, Tech Trance, Goa Trance.

Trance

A fusion of house, R&B, and jungle, characterized by syncopated beats. Sub-Genres: 2-Step, Speed Garage, Grime, UK Funky, Future Garage, Bassline, Breakstep.

UK Garage / 2-Step

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Greg Nice

Roland Clark

Pinto (NYC)

DJ Gomi

Maurice Tamraz

Ray Grooves

Martha Wash

Change is inevitable, and nowhere is this more prevalent than in the world of dance music. Analog gives way to digital, trends come and go, yet NYC’s DJ Joeski remains at the top of his game, and now, in the midst of his third decade as one of house music’s most sought-after stars, his momentum shows no signs of slowing.

Joeski’s trajectory can be traced back to 1991, when he burst onto the NYC house music scene as a founding member of The Chocolate Factory DJ collective. He delighted crowds at Limelight, Tunnel, Palladium and NASA, helped turn “Save The Robots” into a NYC afterhours institution and earned his first residency at “Together” parties at the legendary Roxy, playing alongside the likes of Danny Tenaglia, Louie Vega and Roger Sanchez.

Already a fixture on the U.S. and Canadian club circuit,in the late 90’s Joeski added production to his repetoire, building his own recording studio and spending the next few years mastering his craft. In 2000 he burst into the clubs and onto the charts with hit after hit on Electrik Soul, Siesta, Chez and Camouflage, emerging as one of the most sought-after DJs, remixers and producers in the scene.

In 2001 Joeski launched Maya Records, with releases like “Hustler’s Revenge” and his collaboration with DJ Chus on “El Amor” propelling the label onto the forefront of the U.S. house music sound that would become a global phenomenon and win him worldwide acclaim from clubbers and fellow DJs alike.

Demand for his studio skills grew exponentially over the next decade, with Joeski producing and remixing for the likes of NRK, Ministry of Sound, Defected, Bedrock, Nervous, Cajual and KMS ,helping catapult him further into the ranks of the house music elite.

Entering its 16th year, his Maya label continues a steady output of quality material that remain fixtures on the Beatport and Traxsource tech and deep house charts, with a robust release schedule that shows no signs of slowing any time soon.

January 2017 began with Joeski once again hard at work in the studio, teaming up with Harry Romero (as HR+Ski) on “Dem Tings” for Maya, working solo on “Lessons in Dub” for Poker Flat and also releasing the 14th installment in his “Maya Sessions” podcast on Pioneer DJ Radio.

The new music and remixes continued with the release of “Mind Function” on Maya and “Tribute to Obatala” on Crosstown Rebels, dropped by Pete Tong on his BBC Radio 1 show in February.

Joeski’s touring schedule continues to be as prolific as his studio output, headlining clubs from Acapulco to Helsinki plus a booked-out week spent at Miami Music Week 2017. In March all three tracks from “Tribute to Obatala” simultaneously climbed onto Beatport’s Tech House Top 100, with Joeski ending the month as featured artist on John Digweed’s “Transitions” podcast.

New music continued to flow in April including the release of Dancing in Space” on Kinetika and “Deep Elements EP” on Kitball, while “Mind Function” on Maya climbed into the Traxsource Tech House Top-10. Returning home from a tour of Mexico Joeski hit the studio once again, jamming with SF’s legendary Doc Martin on an upcoming collaboration and putting the finishing touches on his next solo Maya release.

This summer Joeski will once again be a fixture on the global tour circuit with performances at both Do Not Sleep and Dennis Ferrer’s Misfits Party in Ibiza, extensive tours of Australia, New Zealand, South America and Europe while back stateside he and Harry Romero continue their monthly Yage night at Brooklyn’s Output.

Fueled by his genuine love of the music, there’s no doubt that Joeski will continue to evolve both behind the decks and in the studio, captivating new generations of club-goers and maintaining his place as one of dance music’s most enduring talents.

Joeski

More than any other producer, Todd Terry defined New York house during the ’80s, a varied sampladelic smorgasbord blending the sounds of classic disco, the more introspective Chicago sound pioneered earlier in the decade, plus plenty of hip-hop attitude and sampling piracy. And with two of the most respected crossover remixes of the house era («I’ll House You» by the Jungle Brothers and «Missing» by Everything but the Girl), Terry more than earned his title «Todd the God» (or occasionally, simply «God»). Though he’s often been accused of recycling his own beats and effects (in his production work as well as the DJ booth) a bit too often for his own good, Terry’s immortality as a dance icon is assured.

Born in Brooklyn, Terry began DJing in the early ’80s while still a teenager, spinning hip-hop at school events and on the street with a team called the Scooby Doo Crew. He increasingly listened to Italian disco as well, and when the house sound of Chicago dropped in the mid-’80s, Terry the DJ made an official switch to house music. In league with fellow New York DJ/producer/remixers Little Louie Vega and Kenny «Dope» Gonzalez, Terry borrowed the Masters at Work guise — which Vega and Gonzalez would later popularize — for one of his first big productions, the 1987 single «Alright Alright»; the single became a milestone on New York’s early house scene. The Jungle Brothers, another crew of hip-hop heads who were beginning to stray into house, hooked up with Terry and the collaboration resulted in «I’ll House You,» one of the earliest and most high-profile fusions of hip-hop and house (popularized several years later by C+C Music Factory and Snap!).

The added prestige transferred back to his own name for two wildly popular 1988 singles, «Weekend» and «Bango (To the Batmobile),» both released as the Todd Terry Project. Perhaps preferring the adoration of the faithful, Terry later resorted to dozens of aliases for dozens of club hits — Black Riot’s «A Day in the Life,» Gypsymen’s «Hear the Music,» Royal House’s «Can You Party,» Todd Terry & the Countdown’s «Flipside,» Torcha’s «Feel It,» D.O.S.’s «House of Gypsies,» Sound Design’s «You Can Feel It,» Tech Nine’s «Slam Jam,» and Static’s «Dream It.» Despite his wealth of released material, Terry remixed dozens of artists as well, including Sting, Björk, Janet Jackson, Tina Turner, Malcolm McLaren, Annie Lennox, Robert Plant, and Technotronic, among others. The British house boom of the early ’90s provided Terry with many an overseas gig, including a high-profile residency at the London superclub Ministry of Sound. His proficiency on the decks became a minor sensation, causing several British journalists to describe him as «God.»

Terry moved into label entrepreneurship in 1992 when he formed Freeze Records with William Socolov. (Several of Terry’s early singles had appeared on Socolov’s Fresh/Sleeping Bag label, also the home of rap acts like EPMD, Mantronix, and Nice & Smooth). Freeze became the obvious home for many of Terry’s productions, including several volumes of his EP series Unreleased Projects beginning in 1992 and running through 1995.

That same year, Terry’s remix of the erstwhile pop act Everything but the Girl became a worldwide smash, selling over three million copies and almost single-handedly reviving the duo’s flagging career for a sleek new dancefloor incarnation. The British label Hard Times released the DJ gig A Night in the Life of Todd Terry: Live at Hard Times in 1995, while the flip side of the coin, A Day in the Life of Todd Terry (including his best single and remix productions) appeared the following year. His next project, Ready for a New Day, provided more song-oriented fare, though still implicitly dance, with guest vocalists including Martha Wash, Jocelyn Brown, and Bernard Fowler. Terry made another artistic change-up, to LP-oriented drum’n’bass, with his 1999 album Resolutions, recorded for indie/electronica stalwart Astralwerks.

Todd Terry

At 6 years old, Cord Labuhn had his first real career aspiration: becoming an ‘inventor’, a space traveller, or at least working in some kind of laboratory. Instead, he became a producer of beats, tunes, records, imagery, and merch — touring the planet to play music for audiences worldwide.

With releases on labels like Defected, Armada Subjekt, Mother Recordings, Toolroom, Get Physical, Diynamic, Stil vor Talent, Yoshitoshi, Nervous, Simma Black, and Kittball, Robosonic became an authentic figurehead for a style dubbed “Golden Era House”. This reputation was built not only on convincing rap icons like Masta Ace, Jeru the Damaja, EPMD, The Beatnuts, and KRS-One to collaborate on house tracks, but also on remixing legends like Todd Terry, Arthur Baker, Kerri Chandler, and Eddie Amador. Performances in over 45 countries reflect the universal appeal of the trademark Robosonic sound.

Greg Nice

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