Dunny Records

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.

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.

Frenchcore is a high‑tempo subgenre of hardcore techno characterized by heavily distorted, punchy kick drums, straight 4/4 rhythms, and anthemic, often euphoric melodies. Its typical tempo ranges from about 180 to 210 BPM, with modern tracks frequently around 190–200 BPM. The signature sound is a hard, saturated kick with a short, clipped tail that drives the groove, accompanied by aggressive leads, rave stabs, and energetic risers. While rooted in the roughness of gabber and industrial hardcore, frenchcore often adds a melodic, even uplifting edge—sometimes drawing on classical motifs or emotional chord progressions—making it well suited for peak‑time festival moments as well as free‑party systems.

Hardbass is a high‑energy Russian subgenre of pumping house that emerged in Saint Petersburg in the late 1990s. It blends the driving bounce of bouncy techno and happy hardcore with the heavy kicks and distorted textures of hardstyle, adding the trademark "donk" bass timbre and simple, catchy chants or rapped hooks. Typical tempos range from 150 to 175 BPM, with four‑on‑the‑floor drums, rolling off‑beat bass stabs, and aggressively compressed, metallic synths. Beyond clubs, hardbass became a social phenomenon across parts of Europe via public "hardbass" gatherings, where masked dancers perform synchronized, high‑intensity moves—sometimes with moshing—turning the genre into both a sonic and visual meme.

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.

Harsh noise wall (often abbreviated HNW) is an extreme substyle of noise that focuses on producing a monolithic, static "wall" of sound with virtually no perceivable change over long durations. The texture is typically broadband, high-gain, and unrelentingly loud, emphasizing sheer density and timbral grain over dynamics, rhythm, or melody. Aesthetically, HNW tends toward minimalism and austerity: the piece begins and, for the most part, remains the same until it ends. This reduction of musical events is intentional, directing the listener’s attention to micro-level fluctuations in the sound mass, bodily perception, and the temporal experience of endurance. Releases are commonly issued in long-form formats and often feature stark visual presentation and conceptual themes of anonymity, erasure, or anti-performance.

Industrial hardcore is a harsher, more mechanical branch of hardcore techno that fuses the relentless tempo and distorted kick drums of gabber with the textures, noise treatments, and dystopian atmospheres of industrial and EBM. Characterized by overdriven 909-style kicks, metallic percussion, clangorous samples, and aggressive sound design, it favors bleak timbres, dissonance, and machine-like grooves over melodic content. Compared with mainstream hardcore, it is slower to mid-fast or equally fast but darker and grittier; compared with industrial techno, it is more distorted, percussively dense, and structurally oriented toward harder drops and rave energy.

Schranz is a hard, pounding strain of techno characterized by relentless four-on-the-floor kick drums, highly percussive loops, and stark, industrial textures. Tempos typically range from 135–150 BPM, with aggressive drive, clipped transients, and heavy use of saturation and compression. The style minimizes melody and harmony in favor of rhythm, groove, and timbral intensity. Tracks are built from dense, machine-like patterns, metallic hits, and filtered noise, arranged in long, DJ-friendly structures with incremental changes and tension-building sweeps. The overall aesthetic is raw, functional, and club-focused, designed for peak-energy moments on large sound systems.

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.