Confetti's

New beat is a Belgian electronic dance music style that emerged in the mid-to-late 1980s. It is defined by dark, rubbery basslines, hard-hitting but minimal grooves, and a deliberately slow tempo (typically around 100–115 BPM), in contrast to the faster house and hi-NRG of the time. Stylistically it fuses the cold textures of new wave and EBM with Italo/euro-disco sequencing, acid squelches, hip‑hop sampling aesthetics, and early house production, often featuring monotone chants or spoken hooks, eerie pads, and sharp orchestral hits. Originally a club-born phenomenon in Belgium, it rapidly spread across Western Europe, leaving a strong imprint on the continent’s late-1980s dance culture.

Acid house is a subgenre of house music defined by the squelching, modulated basslines of the Roland TB-303 bass synthesizer-sequencer, typically set against a steady 4/4 drum pattern. It emerged in the mid-1980s club culture of Chicago, with formative 303 experiments credited to artists like Phuture and Sleezy D around 1986, and parallel early-1980s experiments occasionally cited in Mumbai’s nascent electronic scene. The style emphasizes hypnotic repetition, filter resonance, accent/slide programming, and minimalist arrangements that build intensity through real-time knob-tweaking rather than harmonic complexity.

Electronic is a broad umbrella genre defined by the primary use of electronically generated or electronically processed sound. It encompasses music made with synthesizers, drum machines, samplers, computers, and studio/tape techniques, as well as electroacoustic manipulation of recorded or synthetic sources. The genre ranges from academic and experimental traditions to popular and dance-oriented forms. While its sonic palette is rooted in electricity and circuitry, its aesthetics span minimal and textural explorations, structured song forms, and beat-driven club permutations. Electronic emphasizes sound design, timbre, and studio-as-instrument practices as much as melody and harmony.