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 / Rominimal

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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Ash Koosha

I AKA I is the first album that Iranian-born, London-based electronic musician Ash Koosha has released on Ninja Tune and it is, by some distance, his best work yet. Koosha, lauded for his “mind-bending electronic music” (Pitchfork) and “intimate, elegantly fractured, beat-driven music” (The Guardian) has received support from the likes of Run The Jewels, Empress Of and FACT via their LPs of the year for “Guud”. Koosha has also had to cope with a brief imprisonment for his music and seeking asylum in the UK, where he lives as an exile, unable to return home.  He prefers, though, to concentrate on his art and, with I AKA I Koosha’s experimental drive solidifies into remarkable achievement, sitting somewhere between Amon Tobin and Flying Lotus and sharing qualities with the likes of Arca and The Haxan Cloak but sounding like no one but himself.

Fascinated for many years by his own synaesthesia (the ability to ‘see’ sound), Koosha has tried to systematise this ability by treating sound “like a physical matter which can be broken down, liquified, rescaled or spatially positioned.” Working mainly with his own field recordings, treating each sampled source as a physical object, Koosha squeezes, stretches, distorts and moulds units of sound before using a background in classical music—both Persian and Western—gleaned from his time at the Tehran Conservatory of Music to structure and shape the result into affecting, original and often beautiful movements — a process he calls “finding geometry in sounds.”

The results are nothing less than stunning. I AKA I, Koosha says “is about transformations in psychology and technological advancements  - the result is always the same humans in the end.” The fifteen tracks across its forty four minutes feel less like separate entities than part of a bigger structure, but the structure itself is constantly informed by its parts, a kind of jazz aesthetic with none of the sounds or cliches of jazz: “I don’t police the sound particles,” Koosha says. “I let their behaviour surprise me and deal with the chaos.”

There’s something of the renaissance man about Koosha. In his drive to let us see as he sees, Koosha has also collaborated with the coder Mangosh Prunier (evvvvil) to make possibly the world’s first virtual reality album, a “post music-video experience” of “I AKA I” that will be shown in 2016 using Oculus Rift headsets, ahead of their projected mass marketing. In addition, his first feature film, “Fermata,” which features Colin Firth’s son, Will Firth, is due for release next year. Koosha has weighty history here, the film in which he starred, No One Knows About Persian Cats, loosely based on his own experiences in Iranian underground music scene, won the Un Certain Regard Special Jury Prize at Cannes in 2009.

For now, let’s focus on this incredible piece of music. As is often the case when you hear something new — something jagged, wild and alien but also beautiful and packed with a strange and scintillating soul — it’s hard to find the words to express quite what it is that excites you. Best then to leave it to Ash Koosha himself: “For me this experience is not one imposed by the composer on the listener,” he says, “but only the reflection of the listener’s own emotions. The composer is only holding the mirror. What you see in the mirror is your own fears, angers, sentiments, and the alien yet tangible quality of such emotions.”

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