Resurrectimite Exclusionary Recordings

Acid house is a subgenre of house music defined by the squelching, resonant basslines of the Roland TB-303 and the stark, machine-driven grooves of classic drum machines like the TR-808 and TR-909. It typically runs around 120–130 BPM, features a four-on-the-floor kick, offbeat hi-hats, and minimal, hypnotic arrangements designed for extended club mixing. Emerging in mid-1980s Chicago, acid house became synonymous with underground warehouse culture and later the UK’s “Second Summer of Love” (1988–1989). Its iconic smiley imagery, trance-inducing filter sweeps, and endlessly evolving 16-step sequences established a sonic and visual language that reshaped dance music across Europe and beyond.

Acid techno is a harder, more driving offshoot of acid house that blends the squelching lines of the Roland TB-303 with the pounding rhythms and industrial edge of 1990s techno. It favors relentless 4/4 kicks, hypnotic 16th‑note bass patterns with accent and slide, and aggressive resonance sweeps that create a distinctive, corrosive timbre. Emerging largely from the UK free-party and squat-rave scenes, acid techno emphasizes raw energy, immediacy, and live hardware performance. Compared with acid house, it is faster, tougher, and more percussive; compared with mainstream techno, it leans heavily on the 303 as the central hook and motif. Typical tempos range from about 135 to 150 BPM, with arrangements built for long, tension-and-release transitions, filter rides, and layered drum machine grooves tailored to large, physically immersive sound systems.

Acoustic rock is a style of rock music built primarily around acoustic instruments—especially steel‑string acoustic guitars—while retaining rock’s song forms, rhythmic drive, and hook‑oriented choruses. Compared with folk or traditional singer‑songwriter material, acoustic rock tends to use stronger backbeats (often played with light drums or hand percussion), more prominent bass movement, and dynamic, chorus‑centric arrangements. The result is a warm, wood‑toned timbre with the energy and structures of rock, but without the distortion and heaviness typical of electric guitar‑led styles. The genre spans intimate solo performances to full‑band “unplugged” settings, often featuring strummed open chords, fingerstyle passages, vocal harmonies, and occasional alternate tunings or capo use to shape color and register.

Ambient is a form of electronic and electroacoustic music that prioritizes tone, atmosphere, and texture over conventional song structures and rhythmic drive. It typically features slow-moving harmonies, sustained drones, gentle timbral shifts, and extensive use of space and silence. Rather than drawing attention to itself through hooks or beats, ambient is designed to be as ignorable as it is interesting, rewarding both background listening and focused immersion. Artists often employ synthesizers, samplers, tape loops, field recordings, and subtle acoustic instruments, with reverb and delay creating a sense of place. Substyles range from luminous, consonant soundscapes to darker, more dissonant atmospheres.

Avant-garde music is an umbrella term for boundary-pushing practices that challenge prevailing norms of harmony, rhythm, timbre, form, and performance. It privileges experimentation, conceptual rigor, and a willingness to reframe what counts as music at all. Historically tied to early 20th‑century artistic modernism, avant-garde music introduced atonality, the emancipation of noise, and new forms of notation and process. It embraces indeterminacy, extended techniques, electronics, spatialization, and multimedia performance, treating sound as material to be sculpted, questioned, and reinvented.

Beatboxing is a form of vocal percussion in which performers use the mouth, lips, tongue, nasal cavity, and throat to imitate drum machines, drum kits, turntable scratches, basslines, and other musical textures. Born inside hip hop culture, it evolved from emulating the sound palette of early drum machines (especially the TR-808) into a highly sophisticated art with its own techniques, notation systems, and competitive scene. Modern beatboxers layer rhythms, bass, melodies, and sound effects—often with loop stations—to create full arrangements using only the human voice. While most closely associated with hip hop, beatboxing now spans club-oriented patterns, grime and garage flows, jazz contexts, and contemporary a cappella, influencing live performance practices far beyond its original scene.

Breakcore is a high-intensity electronic music genre built around hyper-edited breakbeats, extreme dynamics, and a deliberately transgressive, collage-like approach to sampling. It prioritizes rhythmic complexity, abrupt structural shifts, and heavy sound design over smooth continuity. Typical tempos range from 160 to 220 BPM (and beyond), with the Amen break, Think break, and other classic breakbeats chopped into micro-fragments, re-sequenced, and processed with distortion, compression, and glitch edits. The palette freely fuses elements from jungle and drum and bass with gabber kicks, industrial noise, classical or choral snippets, ragga vocals, metal guitar samples, and odd-meter patterns. More than a single “sound,” breakcore is a methodology: confrontational energy, maximalist editing, and anti-formalist structures that often subvert dance-music expectations. It thrives in DIY scenes, warehouse parties, and netlabel cultures, where forward-pushing experimentation and boundary-blurring sampling are central values.

Cybergrind is an ultra-kinetic fusion of grindcore’s extremity with digital production and club-adjacent sound design. It pairs screamed or growled vocals and whiplash riffing with drum machines, trackers, and DAWs that unleash blast beats far beyond human performance, glitch edits, and brutal, bit-crushed textures. Stylistically, it draws from breakcore, digital hardcore, industrial, gabber, and speedcore, translating grind’s micro-song intensity into a hyper-digital aesthetic. Song lengths are often short, arrangements swing between chaotic bursts and razor-cut grooves, and synths/organs/8‑bit timbres frequently replace or double traditional guitars. Lyrically and visually, cybergrind leans into dystopia, technophobia/techno‑fetish, internet culture, and cyberpunk imagery.

Drone is a minimalist music genre defined by sustained tones, long durations, and extremely gradual change. Harmony is often static or centered on a single fundamental with subtle overtone shifts, while rhythm tends toward stasis or very slow pulses. Sound sources range from acoustic instruments (e.g., strings, organ, bagpipes, shruti box, tambura) to electronics (sine waves, oscillators, feedback, tape loops, and later digital synthesis and processing). Many composers favor just intonation or other alternative tuning systems to emphasize beating patterns, psychoacoustic effects, and the internal life of sound. Although drone as a sonic principle is ancient and global, the modern experimental genre cohered in the 1960s through the New York minimalists and related avant‑garde circles, then spread into ambient, experimental, and heavy music scenes. The focus is less on melody and more on timbre, resonance, and the phenomenology of listening.

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.

Experimental electronic is an umbrella term for electronic music that foregrounds exploration and innovation over convention. It treats the studio, computer, and synthesizer as laboratories, using techniques such as tape manipulation, modular and software synthesis, feedback systems, granular and spectral processing, algorithmic/generative composition, circuit-bending, and field recording. Rather than regular song forms or dancefloor functionality, it prioritizes timbre, texture, space, and process. Structures may be nonlinear or open-form; harmony is often non-functional or drone-based; rhythm can be free, irregular, or machine-deconstructed. The style overlaps with electroacoustic music, sound art, industrial, ambient, and noise while continually interfacing with club culture and contemporary art contexts.

Extratone is an extreme offshoot of speedcore in which the kick drum is driven so fast (often 600–3,000+ BPM) that successive hits fuse into a continuous tone. Producers shape the kick itself into a pitched oscillator and then "play" melodies and riffs with it. The result is a hyper‑compressed, relentlessly intense wall of sound that blurs rhythm and pitch. Tracks frequently alternate between tonal extratone passages and brief breakdowns, noise bursts, or experimental interludes, emphasizing shock value, sound design virtuosity, and endurance.

Free improvisation is a practice of spontaneous music-making that avoids fixed idioms, stylistic templates, and pre-agreed structures. Musicians prioritize listening, interaction, and the exploration of sound itself—timbre, texture, dynamics, and silence—over conventional melody, harmony, or pulse. Guitarist Derek Bailey popularized the notion of "non-idiomatic improvisation," describing a music that deliberately resists falling into recognizable genre habits. While often overlapping with free jazz and contemporary classical experimentalism, free improvisation is not confined to either. It welcomes any instrument or sound source—acoustic, electronic, or everyday objects—and frequently uses extended techniques, feedback, and unconventional performance gestures. Performances can range from whisper-quiet, pointillistic interplay to ferocious, high-energy noise, with the ensemble shaping form in real time through attention and constraint.

Harsh noise is an extreme form of noise music characterized by dense, high-volume, full-spectrum distortion that largely rejects melody, harmony, and conventional rhythm. It focuses on texture, saturation, and the psychoacoustic impact of sound. Rather than songs, works are often evolving blocks of feedback, amplified object sounds, and overloaded electronics, shaped into walls, bursts, or streams of sonic pressure. The aesthetic foregrounds physical intensity, unpredictability, and timbral complexity, often presented at ear-splitting sound-pressure levels. Although related to industrial and power electronics, harsh noise minimizes the role of beat and voice, emphasizing raw noise generation and continuous timbral sculpting. The scene is deeply DIY, thriving on small-run tapes, CDrs, and underground performance spaces.

Lolicore is an internet-native offshoot of breakcore and speedcore that collides ultra-fast, hyper-edited breakbeats with "kawaii" (cute) Japanese pop-culture aesthetics. Tracks typically feature frenetic Amen breaks, harsh distortion, sudden BPM swings, and dense sample collages of high-pitched vocals sourced from anime, denpa, or Vocaloid, often cut, timestretched, and repitched to comic or chaotic effect. The result is a deliberately maximalist, irreverent, and noisy sound that juxtaposes sweetness and sonic violence. The genre grew within netlabel and forum cultures, where DIY production, meme-driven artwork, and tongue-in-cheek titles were as central as the music itself. While musically rooted in breakcore’s editing ethos, lolicore emphasizes cute/otaku imagery, playful shock value, and fast, dance-adjacent rhythms that can veer into speedcore-level intensity.

Math rock is a subgenre of indie and experimental rock defined by complex, irregular rhythms, sudden dynamic shifts, and angular, interlocking guitar lines. It frequently employs odd and mixed meters (such as 5/4, 7/8, 11/8), polyrhythms, start–stop figures, and intricate syncopation. Guitars often favor clean or lightly overdriven tones, tapping, and harmonically adventurous voicings over traditional power-chord riffing. Vocals, if present, are usually sparse, textural, or rhythmically coordinated with the ensemble rather than the primary focal point. Aesthetically, math rock draws from the precision and structural ambition of progressive rock, the urgency of post-hardcore, and the textural curiosity of indie and noise rock, resulting in music that feels both cerebral and visceral.

Nightcore is an internet-born editing style that speeds up and pitch‑raises existing songs—typically by around a third in speed—so the vocals become brighter and more youthful and the groove turns more urgent. Practically, a classic nightcore edit accelerates a pop, Eurodance, or trance source by roughly 20–35% (the canonical meme is ~35%), which also lifts the pitch by about five and a half semitones—similar to playing a 33⅓‑rpm record at 45 rpm. The result is euphoric, hook‑forward, and highly kinetic, and it is often presented with anime or fan‑art visuals that emphasize its internet‑native identity.

Noise is an experimental music genre that uses non-traditional sound sources, distortion, feedback, and extreme dynamics as primary musical materials. Instead of emphasizing melody, harmony, or conventional rhythm, it focuses on texture, density, timbre, and the physical presence of sound. Practitioners sculpt saturated walls of sound, piercing feedback, metallic clatter, contact-mic scrapes, tape hiss, and electronic interference into works that can be confrontational or meditative. Performances often highlight process and immediacy—improvisation, body movement, and site-specific acoustics—while recordings can range from lo-fi cassette overload to meticulously layered studio constructions. Though rooted in early avant-garde ideas, the genre coalesced as a distinct practice in the late 1970s and 1980s, especially through Japan’s ‘Japanoise’ scene, and subsequently influenced numerous styles across industrial, punk-adjacent, and experimental electronic music.

Noise rock is a subgenre of rock that deliberately embraces distortion, feedback, dissonance, and abrasive textures as primary musical materials rather than mere effects. It prioritizes timbre, volume, and sonic density over conventional melody and harmony, often using nonstandard tunings, prepared or detuned guitars, and extended techniques to generate harsh overtones and sheets of sound. Rhythm sections tend to be driving and repetitive, anchoring the chaos with motorik pulses, lurching grooves, or pummeling, minimal patterns. Vocals range from spoken and murmured to shouted and cathartic, with lyrics that skew cryptic, confrontational, or surreal. Aesthetically, noise rock traces a line from punk’s anti-virtuosity and DIY ethos through no wave’s iconoclasm and the avant-garde’s interest in sound-as-sound, yielding music that can be physically intense, psychologically unsettling, and artistically exploratory.

Plunderphonics is a sample-based music practice in which new compositions are made entirely or predominantly from pre‑existing recordings. Rather than using short, unrecognizable snippets as texture, plunderphonic works foreground recognizable materials—pop hits, classical excerpts, commercials, voice-overs—and transform them through juxtaposition, layering, pitch-shifting, time-stretching, and collage. Coined by Canadian composer John Oswald in the mid‑1980s, the term names both a technique and a critical stance that questions authorship, originality, and ownership in the age of reproducible media. Plunderphonics often functions as cultural commentary or satire, drawing attention to how meaning changes when familiar sounds are recontextualized. Stylistically, it ranges from dense cut‑up cacophony to groove-oriented rearrangements that remain danceable and accessible.

Power electronics is an extreme offshoot of industrial and noise music characterized by high-gain feedback, piercing oscillators, abrasive drones, and confrontational, often shouted or screamed vocal performances. The music typically rejects conventional rhythm, melody, and harmony, favoring raw, atonal textures sculpted with distortion, EQ, and dynamics. Lyrical content is deliberately transgressive—fixated on power, control, taboo, and violence—presented either as provocation, critique, or uncomfortable reportage. Performances are frequently intense and minimalist: a few analog synths or tone generators, a mixer pushed into clipping, a microphone, and a handful of pedals can fill the spectrum with searing noise. The aesthetic is stark, ascetic, and confrontational rather than dance-oriented, aligning it more with performance art than club culture.

Punk is a fast, abrasive, and minimalist form of rock music built around short songs, stripped-down instrumentation, and confrontational, anti-establishment lyrics. It emphasizes DIY ethics, raw energy, and immediacy over virtuosity, often featuring distorted guitars, shouted or sneered vocals, and simple, catchy melodies. Typical songs run 1–3 minutes, sit around 140–200 BPM, use power chords and basic progressions (often I–IV–V), and favor live, unpolished production. Beyond sound, punk is a cultural movement encompassing zines, independent labels, political activism, and a fashion vocabulary of ripped clothes, leather, and safety pins.

Sound collage is a practice and genre that assembles disparate recorded sounds—speech, field recordings, musical fragments, noise, and media detritus—into a new, cohesive work. It treats recorded sound as raw material to be cut, layered, looped, juxtaposed, and transformed, often privileging texture, timbre, and context over conventional melody and harmony. Emerging from mid‑century tape and electroacoustic experiments, sound collage spans avant‑garde, popular, and club contexts, ranging from radical tape splices to sample‑dense pop and hip‑hop. Because it recontextualizes existing audio, it can be narrative, political, archival, or purely abstract—oscillating between documentary and dreamlike mosaic.

Speedcore is an extreme offshoot of hardcore techno and gabber characterized by extremely high tempos, typically 240–350 BPM and often far beyond. Its core is a relentlessly driving 4/4 kick, heavily distorted and clipped into a percussive bass-tone that dominates the spectrum. The style emphasizes aggression and intensity over melody or harmony, drawing on industrial sound design, harsh noise textures, and horror-tinged sampling. Although many tracks are dark and abrasive, some scenes (especially in Japan’s j-core community) blend speedcore tempos with bright, anthemic leads and pop-cultural sampling. Speedcore is both a club style and a studio-centric craft: producers sculpt the kick drum as the central instrument, layering saturation, compression, EQ, and pitch envelopes to achieve the trademark pounding continuum.

Techno is a four-on-the-floor, machine-driven form of electronic dance music that emerged in mid-to-late 1980s Detroit. It is characterized by steady 4/4 kick drums, repetitive and hypnotic rhythmic patterns, synthetic timbres, and an emphasis on texture, groove, and forward momentum over elaborate harmony. Producers typically use drum machines, sequencers, and synthesizers to build layered percussion, pulsing basslines, and evolving motifs. While often dark and minimalistic, techno spans a wide spectrum—from soulful, futuristic Detroit aesthetics to hard, industrially tinged European strains—yet it consistently prioritizes kinetic energy for dancefloors and a sense of machine futurism.

Vapornoise is a hybrid of vaporwave’s sample-based nostalgia and the abrasive, textural extremes of noise music. It distorts and overwhelms the corporate muzak, smooth jazz, library cues, and TV commercial fragments associated with classic vaporwave, pushing them into blown-out, clipping, and static-saturated soundscapes. Where vaporwave often evokes hazy malls and VHS memories, vapornoise corrodes those memories: loops are crushed by harsh noise wall techniques, drowned in tape hiss, overcompression, bitcrushing, and feedback. The result is a surreal collage that is at once nostalgic and confrontational—ambient pads and sentimental melodies are present, but they are obscured by signal failure, artifacting, and deliberate sonic decay. The style grew online through netlabels and Bandcamp/DIY cassette culture, favoring anonymous or multi-aliased projects, limited runs, and glitchy, corporate-parody visual aesthetics.