From: Austin
Date: Mon Jan 13, 2003 12:17 am
Subject: GENREs of brits and pieces

Name - Artist - Genre - also contains genres

Safe from Harm - Massive Attack - Trip Hop - Hip hop, punk, reggae,
R&B, soul, dub
The End - Stereo Mcs - Trip Hop, Acid Jazz, House
Born Slippy - Underworld - Progressive House
Revisions - Jamie Myerson - Progressive House, Jungle
The Box - Orbital - Ambient
Elektrobank - Chemical Brothers - Big Beat
Little Fluffy Clouds - The Orb - Ambient
Papua New Guinuea - Future Sound Of London - Ambient, Trip Hop
Out of Space - Prodigy - Big Beat
On Her Majesty's Secret Service - Propellerheads - Big Beat
OffShore - Chicane - Progressive Trance
It's a Fire - Portishead - Trip Hop - Cool jazz, acid house
Retro - E-Z Rollers - Drum and Bass
Brace Yourself Jason - µ-Ziq - Experimental Techno, Ambient, Jungle
We Come One - Faithless - Progressive House, Trance
Don't Give Up - Basement Jaxx - Garage, 2 Step, Progressive House
Journey Inwards - LTJ Bukem - Drum and Bass, Ambient Breakbeat
Metropolis - Adam F - Drum and Bass
Flim Aphex Twin - Drill and Bass - Experimental Jungle, Acid, Ambient
Soundtrack - Radiohead - Experimental Rock


2 STEP/SPEEDGARAGE (90s to 00s)
Revving up the sweet sound of garage techno by adding ragga and diva
vocals, constant rewinds, and DJ scratching along with spastic
drum'n'bass rhythms, British Garage hit the London clubscene in 1996,
gaining momentum from its Sunday-night status as a good end-of-the-week
comedown to supplant jungle/drum'n'bass as the hotly tipped dance style
of the late '90s.

ACID (90s to 00s)
When the squelch of mid-'80s acid house music was given time to sink
into the minds of impressionable youths, they became quite influenced
by the sound. Many who began to make music in the early '90s applied
the sound to harder techno instead of the warm sounds of classic
Chicago house. Quite similar to early German trance, Acid Techno
includes the earlier recordings of Aphex Twin, Plastikman, and Dave
Clarke, among others.

ACID JAZZ (80s to 00s)
The music played by a generation raised on jazz as well as funk and
hip-hop, Acid Jazz used elements of all three; its existence as a
percussion-heavy, primarily live music placed it closer to jazz and
Afro-Cuban than any other dance style, but its insistence on keeping
the groove allied it with funk, hip-hop, and dance music.

AMBIENT (70s to 00s)
Ambient music evolved from the experimental electronic music of '70s
synth-based artists like Brian Eno and Kraftwerk, and the trance-like
techno dance music of the '80s. Ambient is a spacious, electronic music
that is concerned with sonic texture, not songwriting or composing.
It's frequently repetitive and it all sounds the same to the casual
listener, even though there are quite significant differences between
the artists. Ambient became a popular cult music in the early '90s,
thanks to ambient-techno artists like the Orb and Aphex Twin.

Ambient Breakbeat refers to a narrow subgenre of electronic acts with
less energy than the trip-hop or funky breaks, but with a pronounced
hip-hop influence to their music. Some of the more downtempo works on
British labels like Mo' Wax and Ninja Tune paved the way for New York's
DJ Wally (of the Liquid Sky Records brigade) and British artists such
as Req, each good examples of the style.

BIG BEAT (90s to 00s)
Rescuing the electronica community from a near fall off the edge of its
experimental fringe, Big Beat emerged in the mid-'90s as the next wave
of big dumb dance music. Regional pockets around the world had
emphasized the "less intelligent" side of dance music as early as 1994,
in reaction to the growing coterie of chin-stroking intellectuals
attached to the drum'n'bass and experimental movements. Big beat as a
distinct movement finally coalesced in 1995-96 around two British
labels: Brighton's Skint and London's Wall of Sound. The former -- home
to releases by Fatboy Slim, Bentley Rhythm Ace, and Lo-Fidelity
Allstars -- deserves more honors for innovation and quality, though
Wall of Sound was founded slightly earlier and released great singles
by Propellerheads, Wiseguys, and Les Rythmes Digitales. Big beat soon
proved very popular in America as well, and artists attached to City of
Angels Records (the Crystal Method, Überzone, Lunatic Calm, Front BC)
gained a higher profile thanks to like-minded Brits. Other than Fatboy
Slim, the other superstar artists of big beat were the Chemical
Brothers and Prodigy, two groups who predated the style (and assisted
its birth). Both the Chemical Brothers and Prodigy were never tight
fits either, given productions that often reflected the more
intelligent edge of trip-hop, and rarely broke into the mindless arena
of true big beat.

DRILL AND BASS (90s to 00s)
Soon after album-based British techno producers like Aphex Twin and
Squarepusher got their hands on drum'n'bass during the mid-'90s, they
naturally twisted it to their own ends. The result was Drill'n'bass, a
spastic form of breakbeat jungle that relied on powerful audio software
and patient programming to warp old midtempo beats and breaks into a
frenzied, experimental potpourri of low-attention-span electronic music.

DRUM AND BASS (90s to 00s)
Based almost entirely in England, drum'n'bass is a permutation of
hardcore techno that emerged in the early '90s. D&B is the most
rhythmically complex of all forms of techno, relying on extremely fast
polyrhythms and breakbeats. Usually, it's entirely instrumental -- it
is among the hardest of all hardcore techno, consisting of nothing but
fast drum machines and deep bass. As its name implies, D&B does have
more overt reggae, dub, and R&B influences than most hardcore -- and
that is why some critics claimed that the music was the sound of black
techno musicians and DJs reclaiming it from the white musicians and DJs
who dominated the hardcore scene.

DUB (60s to 00s)
Dub derives its name from the practice of dubbing instrumental,
rhythm-oriented versions of reggae songs onto the B-sides of 45 rpm
singles, which evolved into a legitimate and accepted style of its own
as those re-recordings became forums for engineers to experiment with
the possibilities of their mixing consoles.

Fusing experimental techno with drum'n'bass breakbeats, experimental
jungle definitely isn't meant for the dance floor. In the main,
Experimental Jungle producers tend toward either the avant-garde
(Twisted Science, T.Power, Richard Thomas) or indie rock (Third Eye
Foundation, Designer).

The field of electronic dance music has limitless possibilities for
experimentation, so Experimental Techno has a similarly wide range of
styles -- from the disc-error clicks and scratches of European
experimenters Oval qnd @anasonic to the off-kilter effects (but
straight-ahead rhythms) of Cristian Vogel, Neil Landstrumm, and Si Begg.

GARAGE (80s to 00s)
Named for what is arguably the birthplace of house music — the Paradise
Garage in New York — Garage is the dance style closest in spirit and
execution to the original disco music of the '70s. Favoring synthesizer
runs and gospel vocals similar to house music but with even more
polished and shimmering production values than house, garage has more
of a soulful, organic feel. Though the style's led by producer/DJs
(Todd Terry, Tony Humphries, Kerri Chandler) and production teams
(Masters at Work, Blaze), vocalists who bring the soulful anthems to
life (Ultra Naté, Dajae, Jocelyn Brown, and Loleatta Holloway, among
many others) are much more important than in other forms of dance music.

HOUSE (80s to 00s)
House music grew out of the post-disco dance club culture of the early
'80s. After disco became popular, certain urban DJs -- particularly
those in gay communities -- altered the music to make it less
pop-oriented. The beat became more mechanical and the bass grooves
became deeper, while elements of electronic synth pop, Latin soul, dub
reggae, rap, and jazz were grafted over the music's insistent,
unvarying four-four beat.

With a balance of sublime techno and a house sound more focused on New
York garage than Chicago acid house, groups like Leftfield, the Drum
Club, Spooky, and Faithless hit the dance charts (and occasionally
Britain's singles charts). Though critically acclaimed full-lengths
were never quite as important as devastating club tracks, several
Progressive House LPs were stellar works, including Leftfield's
Leftism, Spooky's Gargantuan, and the Drum Club's Everything Is Now.

Though progressive house led the increasingly mainstream-sounding house
from the charts back to the dance floors, the progressive wing of the
trance crowd led directly to a more commercial, chart-oriented sound,
since trance had never enjoyed much chart action in the first place.
Emphasizing the smoother sound of Eurodance or house (and occasionally
more reminiscent of Jean-Michel Jarre than Basement Jaxx), Progressive
Trance became the sound of the world's dance floors by the end of the

TRANCE (90s to 00s)
Breaking out of the German techno and hardcore scene of the early '90s,
Trance emphasized brief synthesizer lines repeated endlessly throughout
tracks, with only the addition of minimal rhythmic changes and
occasional synthesizer atmospherics to distinguish them -- in effect
putting listeners into a trance that approached those of religious
origin. Despite waning interest in the sound during the mid-'90s,
trance made a big comeback later in the decade, even supplanting house
as the most popular dance music of choice around the globe.

TRIP HOP (90s to 00s)
Trip-Hop was coined by the English music press in an attempt to
characterize a new style of downtempo, jazz-, funk-, and soul-inflected
experimental breakbeat music which began to emerge around in 1993 in
association with labels such as Mo'Wax, Ninja Tune, Cup of Tea, and
Wall of Sound. Similar to (though largely vocal-less) American hip-hop
in its use of sampled drum breaks, typically more experimental, and
infused with a high index of ambient-leaning and apparently
psychotropic atmospherics (hence "trip"), the term quickly caught on to
describe everything from Portishead and Tricky, to DJ Shadow and
U.N.K.L.E., to Coldcut, Wagon Christ, and Depth Charge -- much to the
chagrin of many of these musicians, who saw their music largely as an
extension of hip-hop proper, not a gimmicky offshoot. One of the first
commercially significant hybrids of dance-based listening music to
crossover to a more mainstream audience, trip-hop full-length releases
routinely topped indie charts in the U.K. and, in artists such as
Shadow, Tricky, Morcheeba, the Sneaker Pimps, and Massive Attack,
account for a substantial portion of the first wave of "electronica"
acts to reach Stateside audiences.