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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Pablo Diserens

As part of the upcoming solo exhibition and publication “on becoming amphibian”, forms of minutiae and Galería Vilaseco present "turning porous", a gathering of amphibious and hydrographic acoustics by field recordist, artist, and forms of minutiae’s co-founder Pablo Diserens. 

Invited to live and work for a two-month period in Galicia, the verdant region of Spain’s northwest, Pablo Diserens spent days and nights inhabiting the region’s freshwaters in the hope of merging with the local amphibian communities. All ears, they adopted a series of listening postures while deploying a range of visual and sound recording techniques. Gradually dissolving in the herpetofauna, Diserens toyed with the boundaries of human experience by engaging in somatic play and perceptual reframing. This resulted in an altered sensing of the present as existence funneled through embodied amphibious realities. The subsequent exhibition and publication “on becoming amphibian” and the album “turning porous” form a body of work that reflects this permeable morphing while inviting listeners into the vulnerable soundscapes of Galicia’s aqueous ecologies.

Over the course of six tracks, anuran calls, insect stridulations, bat clicks, avian songs, hydroelectric hums, and wind-borne tones occur. Frog recordings and dronesque soundscape compositions alternate, drawing us into the sonic intricacies of the region’s ponds and rivers while hinting at site-specific musics. Closeness is felt throughout, as tracks bear a sense of intimate positioning flirting with physical contact.

Enamored with frogs and concerned with their well-being, Diserens gives the stage to the anuran world. Amphibians are known as indicator species. Their health and extreme sensitivity to environmental changes speak volumes on the state of the planet. So much so that their presence (or lack of) can be used to monitor the health of a habitat. “alytes” opens the album with the deliciously minute calls of common midwife toads (Alytes obstetricans) recorded on the slopes of the Rio Miño. Placed extremely close to the toads, microphones pick up prudent nocturnal pings intertwining over time into a delicate tonal tapestry. A bewitching music of some sort. Aptly named, the two “herpetophonics” tickle the ears and dilate the pores as the boisterous calls of Iberian water frogs (Pelophylax perezi) and Iberian tree frogs (Hyla molleri) radiate from former quarries. As listeners melt in these aroused soundscapes, pings, ribbits and chirps swell with hints of meaning as if we began to fathom and hear them as a language — an anuran semantic.

“riparian zone” paints a portrait of the Rio Miño by merging animal voices and anthropogenic vibrations heard along the river’s slopes. In a quasi-circadian curvature, alytes, crickets, grasshoppers, bats and birds merge into a polyrhythmic soundscape made of clicks, pings, and zips. These are cushioned by the dronesque confluence of murmuring insects and the static hums of a dam’s hydroelectric plant—which tonal resonances gradually shift as the microphones move closer and away from the drone’s source. Throughout the track, non-human presences ebb and flow from the constant buzz of the hydraulic technologies scarring the landscape. As dusk reaches dawn, a bird reclaims the foreground by attacking the microphones and giving way to the gripping clatter of storks.

For Diserens, sustained tones and rhythmic complexities hold a unique magnetism, even more so when such music is found discreetly existing in the world. “permeable skin” carries this sentiment with spellbinding delicacy. Water beetles stridulate and zip away under the surface of a frog-packed pond, unveiling the submerged pulses of the waters’ flip side. Tones rise from the hydroelectric structures further upstream, intertwining in a site-specific music charged with emotional ambiguity. Diserens responds by blowing into glass bottles, creating oscillations made of Helmholtz resonances. Finally, anuran pings join this microtonal chorus as it percolates with amphibience, liquifying listeners into a permeable state.

“mirage in motion” ends the album with an arcane opening. Somewhere between protruding boulders and contorted bodies of sick chestnut trees, the forest is visited by a gentle hum. As insects stridulate timidly, winds funnel through a cracked sylvan trunk to form soft aeolian tones, ebbing and flowing with the aerial currents.

All in all, “turning porous” oozes with the slime and intimacy of Diserens’ listening experience. They write in the adjacent publication: “I’m more frog than human these days”. A shapeshifting that is made audible through the imbrication of field recordings, dronesque forms, and hints of acoustic ecology. By inviting listeners to weave themselves with the fragile amphibian and riparian realities of Galicia, "turning porous" is an invitation to let the world in in a gesture of permeance. A murmur that calls for permeable and porous existence as a way of cohabiting with the critters of the ponds, and beyond.

herpetophonics: arousal

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