Blog » Genre Boundaries - What's in a name?

If you're a newcomer to electronic music trying to make sense of all the genres, a lot's in a name! Even if you're a dyed-and-dried veteran, splitting styles sometimes seems as trendy as splitting atoms.

When I began my forays into the techno jungle (now there's a loaded pair of words), one of my most beloved resources was Ishkur's Guide to Electronic Music. Instead of pretending to be some objective overview of the whole mangled tree, Ishkur stated his biases upfront while delivering punchy comedy. As a result, the guide was effectively spread by word-of-mouth: those who vocally disagreed with his classifications could unintentionally draw more attention than the quietly pleased. Unfortunately, the guide has remained stuck at version 2.5 for years while styles have splintered much more.

Does Genre Matter?

Yes, if it's useful: for example, if identifying with a label helps grow your creativity and reach listeners. At the same time, silly and useless overzealous genrefication can hurt you. The points that follow are by no means a complete examination of the history involved, but are meant to spark your own curiosity and freethinking.

What's the difference between genre and style?

If we're to draw a cinematic parallel, genre applies to "similar narrative structures", whereas style is about "techniques used" to make a film. Music in general tends to be more abstract than a literal story, so music uses "genre" and "style" more interchangeably. (Pedants even say "subgenre" or "sub-sub-style".) However, "genre" is often indicative of the tools behind the work, and there's a lesson to be learned here in the form of a question:

What's the artist's intent?

And such an important question which is underasked. While it sounds like something that applies more to highbrow criticism than the jowls of a sweaty dancefloor, consider the effects intention has:

• If the artist designs a track for dancefloor mixing, then the purpose of a long intro and outro is to ease the DJ's transitions.
• On the other hand, the artist could make a radio edit designed to catch listeners' ears in the first few seconds. No doubt it'd catch the ire of "purists" who claim it's "watered down", whereas other people more accustomed to pop music enjoy less repetition. The mere process of shortening a work or adding vocals (as is done in "vocal trance" for self-explanatory reasons) often qualifies it as more accessible.
• If the artist wants to reach crossover audiences, he or she may embark on a collaboration or have remixes done. For example, while the original mix of a track may be unsuitable for a chillout lounge, an ambient remix may fit the mood.
• If the artist is trying to market their music to a label that is particularly fixated on certain genres, then saying "My track X fits in Y genre" can work for accessibility. Some labels also flagrantly buck this; Border Community states: "We are interested in people with ideas, and a soul". Hmmm.

Is there a solid dividing line between genres?

I've never been shown substantiating proof of this, so? no.

I look at it more like a spectrum. Subtlety does matter ? ask any lady who's picked out a shade of lipstick ? but the existence of those shades doesn't deny what lies between. Ironic how a core element of DJing is smooth transitions, yet there exists so much needless elitism over genre superiority.

I don't relate to it in the slightest.

Try this casual exercise: on YouTube, search for some of your fave iconic tracks with a lot of comments, then read those. I know, it can be terribly depressing, but you'll start to see patterns where people namedrop genres, then get into arguments about it. I've never seen a thread where all parties involved arrived at a mutual understanding.

For example, see "Trance vs. Techno". You don't need to be high to see how ugly that gets, and what good comes out of it? Hardly anything.

Better to make or listen to music than become embroiled in an wasteful loop. As I say: "CHOP THE SLOP!"

Time

Back in the "old days" (unless you grew up on Kraftwerk or Wendy Carlos, I'll point to the early-to-mid-1990s), there was a running joke on a forum I frequented: "One man's jungle is another's drum 'n' bass", a sly nod at how strands of one genre evolve into another. The sound changes gradually but a new word gets slapped on which doesn't explain those changes, which leads to pileup miscommunication. I didn't fully appreciate it at the time, but another understated pillar of how genre comes to be determined is time.
For example, some of the same words are revived for divergent purposes. "Electro" was associated with ghetto blasters and Kraftwerk-derived breakbeats, but Wave Alchemy features an "Electro Collection" focused on the popular now of "electro house". There are elements in common and absolutely nothing's stopping you from using these samples in other genres (which I have), but again, for ease of accessibility, the package has a name so producers can identify an intent. After all, in such a big sea, it helps to have focus.

The map is not the destination

A sign can tell you about a place, but only gives you a hair's idea of what actually living there is like. Genres are like those signs: a clue to what part of a track may be about, but not its sum. And like taking a map on your travels, music is full of observations gleaned from experience. The following aren't true all the time and there's an Oblique Strategies-esque aloofishness to 'em, so if you've paid your listening dues, prepare to smile:

• Most genres are confined to a tempo range. What if you made a track at 120 bpm then increased it to 160 bpm just to see what would happen?
• House and trance share a 4/4 kick. A prime difference is the dominant use of arpeggiators and gates in trance. Why not make house in 5/4 or 13/8?
• Did you know that if you move a some of a house track's kick drums off by 8th-notes, it magically transforms into a breakbeat track? So why aren't there more tracks using both straight and syncopated beats? (One of my faves is Hybrid's "So Pure"; compare the beginning to 3:48.)
• Did you know if you slow down a drum 'n' bass track by half, you get a hip-hop instrumental? Do it and know firsthand.
• Applying two heavy washes of reverb, maybe even three, is enough to make anything sound ambient.
• Familiar sounds can be freshened up by using them in new contexts. For example, a supersaw playing a Chinese-sounding scale. What if banjos and accordions were more cool? Can you do anything to change this?
• Dance music has rhythm by definition, yet some genres exhibit an irrational fear of melody. If you're not being melodic, why not? (But: if the artist's intent is to be atonal, then they've succeeded!)

Signature sounds

Each genre has its signature sounds that can be used to stereotype (and unfortunately limit) what a genre is "meant" to sound like. Creative souls often challenge these and end up birthing new genres in the process. Be mindful none of these examples are restricted to the listed genres, but they're associated with them:

• Dubstep has wobble bass, but Burial opted for rainy-day atmospheric samples and won acclaim in the process.
• Minimal techno is supposed to be, um, sparse, but Gui Boratto layers many elements intricately and sometimes has his wife sing
• Aphex Twin has made stuff all over the map that he's had the power of championing under his own genre: "braindance".
• Pendulum have taken a page from the KLF handbook and extended the spirit of "stadium house" into "stadium drum 'n' bass". Which made for easy marketing, too.
• Prodigy have been pegged as "rocktronica" and "hardcore breakbeat" and even "electro" as of late, but in their own words from over a decade ago: ? on-stage they shake off the categorizations and generalizations. "It's Prodigy music and nothing else.... We live this."

4 of my fave genre-bustin' tracks

1. "Learn to Recycle" by Phonat - Is it hip-hop, house, or drum 'n' bass? All of the above and more than the sum of its parts, of course. The same sounds are used throughout but cross the tempo map borders.
2. "Ni Ten Ichi Ryu" by Photek - Japanese cinematic influence meets intricate groove programming. Strongly identified one of "drum 'n' bass"' defining moments, but still sounds like nothing else out there. I'm surprised there weren't more copycats. Maybe 'cuz it's hard to do. Oh, and here's the hip-hop connection.
3. "Paris" by BT - Really, an audio journey of odd couplings. Stuttery breakbeats give way to straightahead house, rich vocals alternate with MC toasting, and synth bass are followed up with a Peter Hook-ish twang. It all sounds like it was meant to be together, which is the real test of any odd couple.
4. "The Long March" by Torley - I have to practice what I preach, right? 80s crime drama meets sociopolitical disaster drum march meets crunk breakbeats meets romantic violin meets etc. One of my beliefs is that I don't go out of my way to bust genres ? it happens, and self-consciousness should never get in the way of your inspirational pursuits.

Simple Solutions

Genre by itself isn't evil. It's only shameful when genre fails in enabling us to discover great music, and instead inhibits our vision. I weep whenever I see wordwars tear apart what should be music fans united in passion. Maybe it's the old-skool PLURR in me, and there's no one way to prevent the hindrances that come with using a genre, but consider the following:

• I emphasize, use genres as labels for accessibility and relation, not segregation. Worthwhile discussion eventually gets to listening to the music itself, which is ultimately what matters. So don't dismiss an entire genre based on name alone.
• As an extension, treat genres like flexible adjectives. Take an AND, not an OR approach because multiple adjectives can be used to describe a piece of music. (Which is actually how Pandora, AllMusic, and other taste-recommendation systems work.)
• Have a sense of humor: heck, "fidget house" and "aquacrunk" were born out of such subversive fun.
• Don't waste time trying to convince someone else that X track belongs in Y genre. Spend that energy exploring what would help both of you enjoy the music more.
• Realize each of us has a different worldview and music is never just about the music, it's about the culture and experiences we have with it. One person's bland ditty can be another's funeral anthem. What would punk music be without rebellion?
• Creative exercise: imagine what genres might exist in an alternate reality. Which seems to be all the rage nowadays thanks to the Star Trek movie, Fringe, and others... It helps me get out of ruts.
• If all else fails, it's easy to refer to a track by the name of the artist(s) who created it.

Onwards!

What does genre mean to you? Does it play a big role in what music you listen to?
Like chemical compounds, a few shifted audio atoms can make a big difference. In future columns, I hope to explore some of the elements that underpin genres with sound examples (using Wave Alchemy samples, of course!). Stay tuned for more sonic transmutation.
Written by Torley