Deep House

Deep House is a subgenre of house music that fuses elements of Chicago house into the 1980s jazz-funk and touches of soul music. In the early compositions (1988—89), influences of jazz music were most frequently brought out by using more complex chords than simple triads (7ths, 9ths, 13ths,suspensions, alterations) which are held for many bars and give compositions a slightly dissonant feel. Later deep house tracks (1993—94) were also heavily influenced by disco and even merged into a disputable disco house genre.


The use of vocals became more common in deep house than in many other forms of house music. Sonic qualities include soulful vocals, slow and concentrated dissonant melodies, smooth, stylish, and chic demeanor.


Deep house music rarely reaches a climax, but lingers on as a comfortable relaxing sound, with or without vocals.

Disco House

Disco House is combination of modern house music with elements of classic disco, whether through samples or thematic similarities.


The genre was developed during the end of the 80's and is a more upfront variant of House Music that relies heavily on looped disco samples.The most notable characteristic of Disco House tracks is the use of heavy bass lines imported from the Disco Music.


Currently, Disco House is strongly linked to the French House and has achieved a great popularity among french clubs.

Electro House

Electro House is a subgenre of house music that rose to become one of the most prominent genres of electronic dance music today. Stylistically, it combines the four to the floor beats commonly found in House music with harmonically rich analogue basslines, abrasive high-pitched leads and the occasional piano or string riff. The tempo of electro house ranges approximately from 120 to 130 bpm. 


The precursor to the modern electro house scene is the electroclash movement of the early 2000s; largely a re-run of the early 1980s synth pop sound, but deliberately made cruder and more raw-sounding than the primitive records on which it was based. More recently, some of the artists and labels involved with the sound, such as Crosstown Rebels, have found a new direction in electro house. Some artists associated with the electroclash movement, such as Felix da Housecat, noticeably used elements of house in their music at the time and have since come to be seen as highly influential. French electro, such as Mr. Oizo, has also been considered an influence.


As of 2007, the sound has been recognised as one of the most dominant movements in house music, surpassing funky house in popularity, with a large range of DJs and producers finding an interest in its dancefloor sensibilities and sense of fun.

Funky House

Funky house is a loose definition for a commercially oriented, disco-influenced subgenre of house music.Like most variants of house, the genre follows a traditional four to the floor house beat, and makes heavy use of synthesizers, samples and soulful vocals, although unlike in more electronically bentChicago and deep house, presence of acoustic instrumentation is much more common.


Notable producers that have worked in this genre include theFreemasons, Soul Central, Armand van Helden, StoneBridge, Seamus Haji, Moto Blanco and Mikey High Jinks.


The genre is commercially popular, with record labels such as Ministry of Sound, Hed Kandi, and Fierce Angel all releasing compilation albums dedicated to the genre.

Latin House

Latin house is an electronic dance music subgenre that mixes together house and Latin American music, such as that of Brazilian, Puerto Rican,Mexican, Cuban, Dominican and Colombian origin.


In the second half of the 1980s, some of the pioneers of house music of Latin-American descent gave birth to this genre by releasing house records in Spanish. Early examples include "Amor Puertorriqueño" by Raz on DJ International and "Break 4 Love" by Raze. One influential artist was the Puerto Rican singer Liz Torres, who released Spanish versions of her songs "Can't Get Enough", "Mama's Boy" and "Payback Is A Bitch".


During the mid-1990s Cutting broke into the Latin house scene and became the most representative label of this genre. Cutting's DJ Norty Cotto was deemed the most representative producer of Latin house. Among the various hits are 2 In A Room's "Las Mujeres", "Carnival" and "Dar la vuelta", Fun City's "Padentro" and "Baila", Sancocho's "Tumba la Casa", "Alcen las manos" and "Que siga el party" (LP) and Los Compadres' "La Rumba". Norty Cotto's mixed compilations also became classics. Fulanito and their LP "El hombre mas famoso de la tierra" is a good combination of house and Latin-American rhythms from that time.


Today many other Latino house artists have emerged to create many successful songs of this genre, and also remixes.

Soulful House

Souful House is a musical genre that came to the fore in the late 1980s and early 1990s. It is often composed of deep soulful vocals (usually sung by female jazz divas) and a piano break, at some stage of the tune. Other samples usually included jazz loops, horns and funk basslines.


Soulful singers have a large influence of gospel music and rhythm and blues and the genre can be considered as a blend of Soul Music with House Music. 


Its roots can be traced back to the United States, although later influences came from Italy and the Balearics.

Tech House

Tech House is a subgenre of house music that mixes elements of minimal techno into simple, 4-to-4 beats found in soulful deep house. The genre came to prominence in the late-1990s atmosphere of American clubs as soul influenced Detroit-style techno that also borrowed elements from house before reaching Europe.This style fuses "steady techno rhythms with the soul and accessibility of house.


Unlike progressive house that arose on European dance scene during the same era, tech house does not represent a breakaway from electronic simplicity, but rather takes it to a new level, by experimenting with simplicity in techno subgenres.


As a musical (as opposed to a mixing) style, tech-house uses the same basic structure as house. However, elements of the house 'sound' such as realistic jazz sounds (in deep house) and booming kick drums are replaced with elements from techno such as shorter, deeper, darker and often distorted kicks, smaller, quicker hi-hats, noisier snares and more synthetic or acid sounding synth melodies from the TB-303, including raw electronic noises from distorted sawtooth and squarewave oscillators.

Tribal House

Tribal house is a subgenre of house music similar in structure to deep house, but providing elements of ethnic or indigenous musical percussions (typically conga drums or its synthesized derivative). The genre remains one of the most minimalist in the history of electronic dance music since the appearance of house in the mid-eighties and up to the recent days.


In many tribal house tracks, it is rare to find a core melody or prolonged synth sound, such as those found in house music and similar electronic music styles. Instead, tribal house tracks rely on sophisticated drum patterns for their rhythm. A track can consist of several different drum sounds.


There is no clear-cut definition of tribal house music, instead tracks are usually classified or perceived as tribal because of their live sound. Tribal house is reminiscent of the ethnic music of various tribes of Africa and South America, and it is not unusual for this music to feature chanting and ululation as a cappellas. Tribal music can be produced with either live (ie. with real drums and instruments) or digital instrumentation: however, live-produced music of this sort in the purest sense is seen as ethnic, while digital tribal music is called 'tribal house'.

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