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Kid Katana Records
France
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Electronic
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.
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Experimental
Experimental music is an umbrella term for practices that prioritize exploration, process, and discovery over adherence to established genre norms. It embraces new sound sources, nonstandard tuning systems, indeterminacy and chance operations, graphic and open-form scores, extended techniques, and technology-led sound design (tape, electronics, computers, and live processing). Rather than a single style, it is a methodology and ethos: testing hypotheses about sound, structure, and performance, often blurring boundaries between composition, improvisation, sound art, and performance art. Listeners can expect unfamiliar timbres, unusual forms, and an emphasis on how music is made as much as the resulting sound.
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Metal
Metal (often used to mean heavy metal in its broad, umbrella sense) is a loud, guitar-driven style of rock defined by high-gain distortion, emphatic and often martial rhythms, and a dense, powerful low end. It foregrounds riff-based songwriting, dramatic dynamics, virtuosic guitar solos, and commanding vocals that range from melodic wails to aggressive snarls and growls. Harmonically, metal favors minor modes, modal color (Aeolian, Phrygian), chromaticism, and tritone-inflected tension, while thematically it explores power, mythology, the occult, social critique, fantasy, and existential subjects. While adjacent to hard rock, metal typically pushes amplification, distortion, precision, and thematic intensity further, forming a foundation for many specialized subgenres.
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Post-Rock
Post-rock is a style that uses traditional rock instrumentation—guitars, bass, drums, and often piano or strings—to create expansive textures, evolving soundscapes, and dynamic arcs rather than conventional verse–chorus songs. It emphasizes timbre, atmosphere, and gradual development: clean or lightly overdriven guitars drenched in delay and reverb, cyclical ostinatos, layered crescendos, and pronounced quiet–loud dynamics. Vocals, if present, are often sparse, wordless, or treated as another textural layer. The genre draws heavily from ambient, minimalism, krautrock, progressive and space rock, shoegaze, noise rock, and experimental practices, yielding music that can feel cinematic, contemplative, and emotionally cathartic.
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Progressive Metal
Progressive metal blends the ambition and extended song forms of progressive rock with the heaviness, timbre, and energy of heavy metal. It is characterized by complex arrangements, frequent time‑signature changes, virtuosic instrumental passages, thematic or concept‑driven albums, and a wide dynamic range from delicate, atmospheric sections to aggressive, high‑gain climaxes. Harmonically it draws on modal interchange, chromatic voice‑leading, and jazz‑fusion colors, while rhythmically it favors polymeters, polyrhythms, and metric modulation. Keyboards and layered production often add orchestral or cinematic scope.
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Video Game Music
Video game music (VGM) is the soundtrack or background music composed specifically to accompany and enhance interactive gameplay. In its earliest decades, VGM was bound by severe hardware constraints: simple programmable sound generators (PSG) and later FM-synthesis chips limited composers to a handful of monophonic channels, basic waveforms, and tiny memory footprints. Those constraints forged a distinctive, catchy, loop-based idiom—often called “chip music” or “8‑bit”—that became the emblematic sound of early games. As technology advanced, VGM expanded into rich orchestral, rock, electronic, and hybrid palettes and adopted adaptive/interactive scoring techniques so the music could change with the player’s actions. Today it spans everything from intimate, textural ambience to full symphonic epics, while still celebrating its retro chip heritage.
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Albums
Planet Crafter - The Moons (Original Game Soundtrack)
Benjamin Young
Lost Records: Bloom & Rage (Original Game Soundtrack) (Tape 1)
Milk & Bone, Ruth Radelet & Nora Kelly Band
Lost Records: Bloom & Rage (Original Game Soundtrack) - Tape 1 & Tape 2
Ruth Radelet, Milk & Bone & Nora Kelly Band
Under the Waves
Nicolas Bredin
Hozy (Original Game Soundtrack)
Yann van der Cruyssen
Lysfanga: The Time Shift Warrior OST
Pablo Gómez & Thomas Lanza
Hotel Barcelona (Original game Soundtrack)
Various Artists
Absolum: Prelude (Original Game Soundtrack)
Gareth Coker
Planet Crafter (Original Game Soundtrack)
Benjamin Young
The Underking (From Absolum)
Mick Gordon
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Artists
The Algorithm
Jonathan Young
Milk & Bone
Remi Gallego
Mike Patton
Yuzo Koshiro
Gareth Coker
Nat Walker
Various Artists
Dominic Ninmark
Yann van der Cruyssen
Nora Kelly Band
Tee Lopes
Mick Gordon
Andrew One
Benjamin Young
Ruth Radelet
Nicolas Bredin
Pablo Gómez
Thomas Lanza
Nicolas Gueguen
Pentadrangle
Adam Miller
Simon Poole
Alex Moukala
Ilya Bezugly
sergeeo
Guillaume Ferran
Sean Bialo
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Melodding was created as a tribute to
Every Noise at Once
, which inspired us to help curious minds keep digging into music's ever-evolving genres.