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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Frank Fonema

Ciskoted

Lenny Fontana

Oli Hodges

Mark Knight

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

Argy

DJ Steaw

For anyone who knows their shit, Mike Dunn should need no introduction, but for those that don’t, he was highly influential in birthing the modern day dance music phenomenon, most notably as a major progenitor of acid house.

“I was one of the first cats bringing two reel-to-reels and spinning with them at the parties. I was bringing out two Pioneer 707s, doing the Hummingbird, Jacks, The Courtyard, etc. I’d bring a drum machine, too. I would make tracks right then as the party was going. Way before my guys Daft Punk and all of them were doing live gigs, I was doing that at the basement parties – just bringing drum machines and doing everything live."

Word soon spread about his talents and Mike was booked for various clubs in and around Chicago, DJ’ing with house music innovators such as Ron Hardy, Larry Heard and good friend Armando Gallop. It wasn’t long before Mike got the production bug releasing 'Dance You Mutha' in 1987. More house and techno productions followed in the late 80s with Mike’s distinctive vocal delivery and trademark hip-house, acid, production style, to create tracks such as ‘Let It Be House’, ‘Magic Feet’ and “Face the Nation”.

More recently, tracks like Phreaky MF’ and ‘God Made Me Phunky’, re-released on Defected records, have raised his profile and delivered his music to new audiences. Whilst new interest in Mike’s original old school jamz have taken him to work with the new generation of house and techno producers and labels.

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Keep On / Joyful Night

Stronger Than Before / Feeling You

Afterglow

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