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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Gene Hunt

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

After being exposed to House music of the 90's and early 2000's, Barcelona based Piem was destined to journey into the world of underground music. These early musical experiences helped to shape Piem into a firm favourite on the Barcelona club scene with a residency at W Barcelona and playing in venues like Pacha and Barcelona's biggest festival, Sonar.

Meanwhile, locking himself away in his studio honing his sound, Piem's dedication continues to pay off with releases on well revered labels: DFTD, Knee Deep in Sound, Relief, Crosstown Rebels, Sola and Moon Harbour. Piem has established himself across the world and is gaining recognition among fans, DJ peers and promoters. Piem has seen his music played by and performed on the same line ups as many renowned names such as Black Coffee, Carl Cox, Hot Since 82, Maya Jane Coles, MK, Nic Fanciulli, Pete Tong, Solardo and Camelphat.

Playing at some of the world's most iconic clubs: Club Space (Miami), Heart Nightclub (Miami), Space (Ibiza), Pacha (Ibiza), Amnesia (Ibiza), Club Room (Chile), Cavo Paradiso (Mykonos), and with over 3 million Spotify global streams to his name, Piem is reiterating why he is one to watch

Piem

Crazibiza

TO MIGUEL

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

Gene Farris lives and breathes house music. A bonafide Chicago legend, he’s been pushing musical boundaries for over three decades, from spinning at underground warehouse parties in the early 90s to working with the current crop of world-leading labels and artists. Relief, Dirtybird, Circus, ViVa Music, Defected: all have released and championed Gene Farris records over the past few years, alongside his own Farris Wheel imprint: a testament to the quality and relevance of the music he creates. Farris has become a go-to collaborator for many high calibre artists, including Sub Focus, Cajmere, Green Velvet, Loco Dice, John Summit, Riva Starr, Mark Knight and Jamie Jones, further establishing Farris as a rare and highly sought-after talent.

As a self-taught engineer and producer, his work with Cajual, Relief Records, Defected Records, Soma Recordings and his own breakout label Farris Wheel Recordings, propelled his influence into ever expanding realms. His catalogue is vast, varied and consistently inspired, with notable releases including collaboration ‘It’s Time’ on EMI with drum and bass heavyweight Sub Focus, ‘Play’ on Snatch!, ‘LOL’ on Relief and 2015’s ‘Move Your Body’, which was one of the biggest club records of the year. Similarly impressive was Gene’s ‘Welcome To Chicago EP’, which after its release on Defected Records back in 2003, quickly became a cult classic.

Gene Farris

Demuir

THE CUBE GUYS is a club undertaking that was born in 2005 between two of the most

prominent producers in Italy: Roberto Intrallazzi and Luca Provera. Although their

backgrounds and professional training differs, their common desire to release new

productions and contribute to the international club scene is equivalent. Together, they

combine their previous experiences and endeavors to launch a fresh and innovative

musical journey!

Roberto Intrallazzi has been at the forefront of Italy’s scene since he began DJing and

producing in the late 80’s. This transitional period between decades helped the

development of his trademark sound, a fusion between old school electro and house. The

two initially met in 2000, when Luca Provera was still an up and coming producer fresh in

the game. Possessing a deep understanding of both digital and analogical devices, he

quickly became a studio workhorse for many of Italy’s biggest players.

The Cube Guys come from vastly different backgrounds, a key component that fosters

their creative drive. With a constantly evolving sound, from House to Tech House stylings,

Roberto Intrallazzi and Luca Provera continue to offer dance music fans a true breath of

fresh air.

The Cube Guys

Robert Owens

Eli Escobar is the quintessential New York City DJ. Over the past ten years he’s built a reputation around his parties, emerging as one of the most talented in the NY dance scene. With a style based on his diverse tastes, Eli subversively drops his influences and personal favorites into even the most party rocking sets. Eli grew up in 1980’s New York City. His love for hip-hop brought him his first set of turntables and he became a connoisseur of vinyl records very early on, building his collection and expanding his knowledge of the music that moves people. He spent much of the Nineties in the New York club scene, going to parties and eventually being the reason others went. By 1999 he’d produced his first string of hip-hop 12 inches, which was only the beginning of his broadening musical aspirations.

Over the past several years, Eli has turned to remixing, transitioning smoothly to what he does best – dance music. His talent as a remixer is reflected in the wide range of artists who have sought him out to turn their songs into something specifically his. The list boasts work for Lana Del Rey, Bag Raiders, Jessica 6, Dirty Vegas, Ali Love, Diplo, M.I.A., Britney Spears, Chromeo, Holy Ghost!, Pase Rock, and Amanda Blank. With the release of his first full length solo album, "Up All Night", we as listeners have his finely tuned ear constructing what will certainly be a certifiable classic. What Eli brings to the table in his production, through the looking glass of his career is an understanding of music’s sustainability. Eli strives to enhance people’s experience with music wholly - through playing out, the remixes and now full circle by producing his album.

Gene Hunt

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