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Analog horror is an internet-born horror style that foregrounds the texture and limits of obsolete media. It is characterized by lo‑fi, band‑limited sound, tape hiss, wow and flutter, and the sonic vocabulary of public‑access TV, VHS cassettes, emergency broadcast signals, and numbers stations. In narrative terms, it tends toward cryptic, surreal plots presented as faux archival broadcasts, training films, or interrupted transmissions. Musically, the idiom leans on drones, minimal motifs, degraded samples, and detuned analog synths, using period‑authentic processing to evoke dread, nostalgia, and the uncanny.

Liminal space is an internet-borne microgenre/aesthetic of ambient and vaporwave-adjacent music that aims to evoke the uncanny feeling of being in empty transitional places—deserted school corridors, unlit parking structures, late-night office lobbies, or closed shopping malls. Sonically, it blends hushed drones, diffuse synth pads, tape hiss, and faraway environmental noises with fragments of public-address announcements or detuned muzak. The harmonic language is static, unresolved, and memory-like, with slow fades, extreme reverberation, and time-stretching that flatten the sense of motion. The result is a dreamlike, nostalgic, and often eerie atmosphere that feels suspended between past and present, presence and absence.

Nova srpska scena (the "New Serbian Scene") refers to the post‑2000 wave of Serbian alternative and indie artists who emerged from Belgrade, Novi Sad, Niš, and other urban centers. It blends post‑punk tension, garage‑rock urgency, and indie melodicism with local sensibilities, sardonic social commentary, and a strong DIY ethos. While stylistically diverse—from noisy guitar bands to synth‑leaning indie pop—the scene is united by energetic live performance, youth‑culture narratives, and a revival of small club circuits, labels, and media platforms that champion new domestic music.