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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Cheryl E. Leonard

2025 was declared the International Year of Glaciers’ Preservation by the United Nations, accompanied by the proclamation of March 21st of each year as the World Day for Glaciers starting this year. As they put it, “this is an opportunity to raise global awareness about the critical role of glaciers, snow and ice in the climate system and the hydrological cycle, and the economic, social and environmental impacts of the impending changes in the Earth’s cryosphere.” To celebrate this decision forms of minutiae presents a series of albums dedicated to glaciers and the acoustic multiplicity of the ice, with field recording works by Marc Namblard, Ludwig Berger, Yoichi Kamimura, Cheryl E. Leonard, and Pablo Diserens.

Following Yoichi Kamimura’s “ryūhyō”, the series continues with its fourth album, “near the bear”, a collection of high arctic compositions by composer, instrument builder, and field recordist Cheryl E. Leonard.

 From walrus encounters at 79° North to watching the surface of the ocean freeze at -35° Celsius, Cheryl E. Leonard’s Near the Bear summons and celebrates the High Arctic. Over a decade in the making, the album investigates the far north via compositions inspired by the unique wildlife, environments, and human histories of Svalbard and Greenland. Three of the album’s five tracks developed out of the 2011 Arctic Circle expeditionary residency in Svalbard, which Leonard undertook in collaboration with New York-based visual artist Oona Stern. During this residency Leonard and Stern explored the western and northern coasts of Spitsbergen Island on a barquentine schooner, collecting materials for a series of art installations, performances, and videos. The following year Leonard began creating soundtracks for two videos shot by Australian artist Genevieve Swifte on the west coast of Greenland.

Across these five carefully-crafted compositions, Leonard weaves together sounds performed on natural and human-made objects found in polar regions, with field recordings and site-specific improvisations. Voices coaxed from stones, shells, driftwood, bones, sand, and kelp are entangled with wild soundscapes such as lapping waves, sea ice snaps, howling winds, and squeals from a frozen pond. This sonic synthesis hints at the myriad ways Arctic lifeforms and natural systems interconnect. The composer also brings her music into conversation with the rocky history of human enterprises in the Arctic by including sounds from saw blades, pyrex beakers, remnants of forsaken mining operations, and the ship she sailed on in Svalbard.

In the opening track, Moffin, Leonard calls forth the playful spirit of juvenile walruses with the help of master saxophonist Phillip Greenlief, who performs on “kelpinet,” a tubular piece of dried bullwhip kelp with a saxophone mouthpiece attached to one end. This frolicking composition invites audiences to marvel at the wide range of sounds walruses produce, and to share the artist’s concern about the future of this extraordinary species. Glugge, a response to increasing industrialization in the Arctic Ocean, developed from recordings Leonard made via the porthole in her schooner cabin. Lilting ostinatos generated by the ship’s propeller build into a gasping elegy for the Arctic icecap and the ecosystems it supports. Ensconced in pulsing tones from bowed glass, Thresholds peers through the window of a home in Upernavik, Greenland into a tempestuous Arctic storm, contemplating tensions between domestic and wild, human and more-than-human. In the slowly-evolving Mørketid, which grew out of an improvisation on metal handrails in the ghost town of Pyramiden, Leonard wonders what it would be like to spend polar night in a Soviet coal mining settlement. The album draws to a close in Illulissat, Greenland, at a crystalizing edge of Baffin Bay, with the breath-based composition Sila, which features bird bones brushed with feathers and bowed limpet shells. 

Together, these evocative works draw listeners north, sharing sounds, wonders, and stories from the most rapidly-warming region on Earth. Though it may seem seem far away, Leonard’s near the bear reminds us that we are all marvelously and irrevocably entwined with the fragile, wild Arctic.

mørketid

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