I’m sure it is a real thing, it just sounded even more made up than the one I actually made up above.
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What is the function of the music? Is it for dancing? Sitting? Fucking? Playing in the Background while you read?
We are already seeing the rise of this curation through stream platforms and I think curation with an eye for function will come to replace genre.
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Even though I think I have seen this before - are you kidding me with this?! I was hoping to get some work done today. Instead, I am required to dive into australian post-indie, black sludge, and japanoise.
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Please do accept my sincere apologies.
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Frow 2005 Genre
Kronengold 2008 Exchange theories…
McLeod 2001 Genres, sub Genres…
Not read them. In reading Listening Through the Noise by Demers. She references all three in her book
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How the fuck does one make dance music separate from the rest?
What is this BS?
I could never keep up with all these crazy sub genre labels, so for me, most things get catergorized under the main umbrella labels (electronic, hip hop, rock, country, etc…) From there on, I suppose it depends on tempo, sounds, and feeling for me to drill down the genre further.
Half the time I don’t even know the genre of the stuff I’m making myself, I just make it.
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On top of that, when you tell somebody you‘re making „Deep Ambient Glitch House“ it‘s really unhelpful for any further conversation becaus of the arrogance this radiates, hahaa.
Usually I just say „uuh yeh I dunno, Techno I guess“ and then when they‘re interested show them some examples.
Overall, I much more prefer to categorize music under artist names. There‘s such a huge difference between run-of-the-mill dub techno and Basic Channel.
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is a good genre specific overview of noise.
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https://en.m.wikipedia.org/wiki/Last_Night_a_DJ_Saved_My_Life_(book) Is a great read!
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found the rabbit hole i’ll be in for the next millenia 
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Was listening to satellite radio on my drive to work this AM and they had a couple guys from In Flames (another fine Swedish product) in the studio for their new album release. Anders had an interesting point when asked about how things are different between the US and Sweden in terms of music and making music. He mentioned how with the internet, everything is everywhere nowadays (to paraphrase). Back in the day, it took a long time for media to travel around the globe, so you just did what worked for you at the time.
Reflecting on that, I can see how all these sub-genres developed in their locales, but to each person they’re simply making “metal” or “techno”. However, when discovered later, an outside observer may decide to tag it with a more hyper-specific classification like “swedish black metal” or whatever the case may be.
I wonder what things will be like in 10 years. We could either have so many micro- and nano-genres that we’ll all lose our minds, or there could be a breaking point after which everything just gets lumped into the over-arching genre groupings. It’s all subjective, and frankly, it’s all just music.
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It won’t stop until we have one genre per track. 
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We’ll be looking for “genre locks” on the Digitakt so we can have a different genre on every step, but Elektron will only put them on the Octatrak.
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Or maybe Model:Genres is next? It just has play and stop and one bigass knob to select genre from the Spotify metadata.
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It‘s gonna have a real sweet lowkey marketing campaign though!
You mean like the microkorg had, but just finer resolution, perhaps with midi2.0 … So you have more than 127 genres to choose from ! Sign me up !
don’t need a book to find a good explanation of musical genre(s).
and I don’t think an adequate explanation can succinctly be put into words. i think understanding music requires listening to it. so my suggestion, more than reading any book, is to listen to music/use music databases with good metadata searchable criteria to figure out where those unnamable amorphous musical regions extend to – you’ll see overlaps in style, technique, instrumentation, etc. and determine what ‘subgenres’ mean to you.
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Modular synthesis (more a process/approach than a genre per se, but the book is too good to not recommend here):
Patch & Tweak
Ambient:
Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds
Krautrock/kosmische:
Krautrocksampler
Krautrock: Cosmic Rock and it’s Legacy
Future Days: Krautrock and the Birth of a Revolutionary New Music
Noise:
Noise Music: A History
Japanoise
Experimental improvisation (free jazz, etc.):
Into the Maelstrom: Music, Improvisation and the Dream of Freedom
No Wave:
No Wave
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