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.

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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JK Flesh

Earth

The Bug

Like master painters exploring a subject over a lifetime’s work, Kevin Martin and Dylan Carlson – The Bug and Earth, respectively – have each been mining and defining their genres for more than 20 years. They’re united by an interest in – really an obsession with – heaviness. They search for, examine and break the boundaries between beautiful and ugly, minimal and maximal, light and dark – but The Bug and Earth always make music that is heavy in the most thrilling of ways.
 
Earth, and its founding member Carlson, first appeared in the early ’90s, and came to prominence with their Sub Pop release "Earth 2". An exercise in SLOW distorted droning minimalist riffage, their debut was the blueprint for what Dylan coined at the time "ambient metal,” – a style still being pushed forward on his latest Southern Lord release "Primitive And Deadly.”
 
Kevin Martin's career spans the same timeframe. Techno Animal, Ice, God, Razor X, King Midas Sound, and of course the The Bug moniker. All of which explore(d) the fringes of experimental and heavy music. With his recently released "Angels & Devils" LP receiving high praise across the board, he once again put his sonic stamp on the here and now with his collaborators Liz Harris (of Grouper), copeland, Miss Red, Gonjasufi, Flowdan, Death Grips, Justin Broadrick (Godflesh/Jesu), and Warrior Queen. 
 
These two uncompromising outsiders met via the visual artist Simon Fowler (Angels & Devils.) Simon arranged for Dylan to come to a King Midas Sound gig, but Martin’s trademark use of a powerful strobe light meant that the epileptic Carlson couldn’t enter the room. Undeterred, Carlson featured King Midas Sound’s music in a podcast, and the pair eventually decided to collaborate around “Angels & Devils.”
 
The anglophile Carlson had long admired Martin, and other British sonic experimenters like Spacemen 3 or Pentangle. In turn, Martin understood the genius in Carlson’s deconstruction of metal, and Earth’s boiling down of the genre to its core, elemental riffs. Martin saw that he and Dylan were both “wanderers,” and “misfits in the world we live in.” They were both huge fans of dub and the Velvet Underground, and they discussed how those influences could provide a combined template for something entirely new.
 
When they finally began to record, it quickly became apparent that the music they made together needed room to stretch out and “drone,” – to be its own thing. Two tracks eventually emerged, "Boa" & "Cold," and were released as a standalone EP, with Dylan's signature guitar sound weaving seamlessly around some of Kevin's most destructively heady bass explorations. Martin had decided to exclude those songs from ‘Angels & Devils’, as he felt “They had developed a singular life of their own, outside of the identity of that album.”
 
Ninja Tune asked The Bug and Dylan Carlson to perform live in LA around the label’s 25th anniversary, and Martin and Carlson took the opportunity to further the recording project in person. So The Bug vs Earth project holed up in Daddy Kev’s legendary LA studio, with DJ Nobody engineering, for two very long days. Those recording sessions have resulted in the masterpiece that is “Concrete Desert.” Inspired by J.G. Ballard’s urban dystopias, and the Californian dream capital’s sordid, fragmented underbelly, Martin says that the album is in some ways a Los Angeles-set companion piece to “London Zoo.”
 
The record’s beautiful, chiming melodies are like shards of sonic light, glowing in currents of heavy bass darkness. There are pulsing soundscapes, ambient pinks and whites, and irresistible grooves. This is music that grips you entirely, and catches you in its lava-flow – an astonishing, primal album of vast depth.
 
In making it, Martin decided to break from The Bug’s obsessive study of groove, tone and texture, and think more cinematically. The result is a wondrously visual album, akin to finding oneself wandering amongst the rocky red hills of the Californian deserts. In fact, he says, the album could be understood as reflecting a ‘mistrust of “Hollywoodisms,” and the shadow of Hollywood fantasy that looms large over life in LA, and the USA in general. “Dylan’s a master at amplifying the flavour of America,” he says, “but not the side we see in this Trump climate.” For Martin, the “American dream is like a nightmare under Trump” but Dylan captures the “best side of that dream, a utopian openess.” “I hear the writing of Cormac McCarthy in his music. His playing conjures deserts, and wide open spaces.’ In “Concrete Desert,” Earth’s sonic landscapes, its far horizons and vast spaces, are underpinned and propelled by Martin’s ear-worming rhythms and percussive genius.
 
With live shows for The Bug and Dylan Carlson planned for April 2017, this is just the beginning of The Bug vs Earth project. The record might be one designed to ‘document alienation,’ but one listen is enough to show it, equally, to be a brilliant meeting of two kindred musical souls.

Gasoline

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