Afro House is a sub-genre of house music that originated in South Africa and incorporates African elements and rhythms into the electronic dance music framework. Sub-genres: Afro Tech, Afro Deep, Afro Soulful, Afro Tribal, Afro Funk, Afro Latin, Kwaito, Gqom, Amapiano.

Afro House

Amapiano

Bass House is a sub-genre of house music that emphasizes heavy basslines and hard-hitting beats. Here's a list of some of these styles: UK Bass House, Future House, Wobble House, Garage House, Breaks-infused Bass House, Dark Bass House.

Bass House / Future House

Rhythmic, beat-driven electronic music with syncopated patterns.	Sub-genres: Big Beat, Nu Skool Breaks, Progressive Breaks, Florida Breaks, Atmospheric Breaks.

Breaks / Breakbeat

Dance / Pop

A soulful, melodic variant of house music with smooth chords. Sub-Genres: Tribal Deep House, Afro Deep House, Deep Tech House.

Deep House

Tracks or elements designed for DJs to use in live performances. Acapellas, Loops, Samples, DJ Intros/Outros.

DJ Tools

Fast-paced electronic music with breakbeats and heavy basslines. Liquid, Neurofunk, Jump Up, Jungle, Techstep, Darkstep, Drumfunk, Atmospheric DnB, Dancefloor DnB.

Drum and Bass

Electronic music with heavy basslines, and syncopated rhythms. Sub-genres: Brostep, Riddim, Chillstep, Melodic Dubstep, Wonky, Deathstep, Glitchstep, Deep Dubstep.

Dubstep / Bass / Grime

An early form of electronic dance music with futuristic themes. Detroit Techno, Electro Funk, Electro Breaks, Electroclash.

Electro (Classic / Detroit)

Energetic, hard-hitting dance music with heavy basslines. Sub-Genres: Progressive Electro House, Complextro, Dutch House, Fidget House, Dirty Dutch, Melbourne Bounce.

Electro House / Big Room

Diverse, experimental electronic music with various influences: IDM, Ambient, Downtempo, Glitch, Trip Hop, Breakcore, Experimental, Soundscapes.

Electronica

Upbeat house music with disco, funk, and soul elements. Sub-Genres: Disco House, French House, Filter House, Glitch House, Chicago House.

Funky / Jackin' House

High-energy electronic music with aggressive beats and tempo. Happy Hardcore, Gabber, Hardstyle, UK Hardcore, J-core, Powerstomp, Speedcore, Terrorcore, Breakcore.

Hardcore / Hard Dance

Intense techno variant with faster tempos and heavier beats. Sub-Genres: Schranz, Industrial Techno, Dark Techno, Power Noise.

Hard Techno

Electronic dance music with 4/4 beats and repetitive rhythms. Classic House, Acid House, Vocal House, Chicago House, New York House, Swing House.

House

Electronic music with indie, alternative, and disco influences. Sub-Genres: Synthwave, Italo Disco, Coldwave, Dark Wave, New Wave, EBM.

Indie Dance / Dark Disco

Experimental, unconventional electronic music. Sub-Genres: Leftfield Bass, Leftfield House & Techno, Avant-garde, Musique Concrète, Drone Music.

Leftfield

Relaxing, downtempo electronic music for casual listening. Ambient House, Trip Hop, Downtempo, Balearic, Lo-fi, Nu Jazz.

Lounge / Chill Out

A blend of house and techno with strong melodies and harmonies.	Sub-Genres: Progressive Melodic House, Deep Melodic Techno, Uplifting Melodic Techno.

Melodic House / Techno

Minimalist house music with intricate, glitchy sounds. Minimal Techno, RoMinimal, Clicks & Cuts, Glitch House, Intelligent Dance Music (IDM)

Microhouse

Sparse, stripped-down electronic music with repetitive patterns. Sub-Genres: Minimal House, Microhouse, RoMinimal, Glitch, Ambient Techno

Minimal / Deep Tech

Modern disco and funk-inspired electronic music. Disco House, Funky House, Re-edits, Modern Funk, Boogie, Future Funk, Electro Funk.

Nu-Disco / Soul / Funk

House music with natural, organic sounds and world music elements. Downtempo, Ethnic House, World Electronica, Afro House, Tribal House

Organic House

Evolving, melodic house music with long builds and breakdowns. Sub-Genres: Dream Progressive House, Dark Progressive House, Progressive Trance, Progressive Breaks.

Progressive House

Psy-Trance

House music with a strong soul, gospel, and jazz influences. Sub-Genres: Gospel House, Vocal Soulful House, Jazzy House, Latin House.

Soulful House

Electronic-infused soul, R&B, and hip-hop tracks. Neo-Soul, Future R&B, Instrumental Hip-Hop, Alternative R&B, Trap, Trip Hop, and Grime.

Soul / R&B / Hip-Hop

A fusion of house and techno with an emphasis on percussion. Sub-Genres: Tribal Tech House, Deep Tech House, Minimal Tech House, Acid Tech House, Dub Tech House.

Tech House

Energetic techno with driving beats and strong rhythmic elements. Hard Techno, Detroit Techno, Minimal Techno, Acid Techno, Rave Techno.

Techno (Peak Time)

More stripped-down, atmospheric, and dub-influenced techno. Sub-Genres: Dub Techno, Hypnotic Techno, Ambient Techno, Deep Techno, Experimental Techno.

Techno (Raw, Deep, Dub)

Melodic, uplifting electronic dance music with a fast tempo. Progressive Trance, Uplifting Trance, Psytrance, Vocal Trance, Hard Trance, Tech Trance, Goa Trance.

Trance

A fusion of house, R&B, and jungle, characterized by syncopated beats. Sub-Genres: 2-Step, Speed Garage, Grime, UK Funky, Future Garage, Bassline, Breakstep.

UK Garage / 2-Step

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Good Luck Mr. Gorsky

Eventless Plot

This split release brings together good luck mr. gorsky and eventless plot after a number of previous collaborations and is the first cd release by granny records.
 
Each band contributes three tracks to the album’s tracklist and their parallel movements in music through time make this release sound like if it’s being presented by a single ensemble and not by two different musical outfits. Never the less, there exists a more analog and organic approach to the glmg compositions, opposing to a more digital and electronic treatment on the eventless plot’s half.
 
In conclusion, the split release by these two trios ends in a heavily dark and esoteric mood firmly grounded on the band’s compositions.

Reviews

Textura
 
Eventless Plot and Good Luck mr Gorsky—both trios from Thessaloniki—get three tracks each on this split disc from the Thessaloniki , Greece-based Granny label. Good Luck mr Gorsky's up first with sound sculptings built from natural sound sources and various instruments, all of them processed, manipulated, and looped live. “Organisa” takes the listener on a slow drift through an underground tunnel resonant with guitar shadings, horns that cry like dying animals, and other disturbed noises. In the equally slow-moving dirges “Chromes” and “Olchmin,” monotone voices and glockenspiels bleed over curdling bass and drum rhythms. One might liken Good Luck mr Gorsky's gloomy post-rock experimentalism and nocturnal jazz guitar shadings to a diseased Labradford.
 
Armed with synths, processed guitars, and other instruments, Eventless Plot is kindred in murky spirit to Good Luck mr Gorsky. In “Underseashore,” bell tinkles, disembodied voices, and string tones swim within a thick cauldron of simmering noise while “Gram/Ma” begins tranquilly before swelling into an eruptive mass of clarinet croaks and cymbal accents. “Cautadum” meanders through a gloomy desert of piano tinkles, cello tones, and electrified micro-patter for twelve glassy minutes.
A semi-interesting footnote: Good Luck mr Gorsky got its name from an apocryphal anecdote associated with astronaut Neil Armstrong who supposedly uttered “Good luck, Mr. Gorsky” during his first Apollo 11 lunar walk in 1969; though its veracity is debated, the story goes that when a child, Armstrong overheard his neighbor Mr. Gorsky being told by his wife that when the kid next door walks on the moon, that would be when Mr. Gorsky would get oral sex.
April 2008

 
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vital weekly
 
Perhaps a granny left some money behind so there could be a label called Granny Records? Their second release, following a compilation 'Bits Of Quartz Glitter' is a split release between two new bands, for me new that is. Three pieces by Eventless Plot and three by Good Luck Mr. Gorsky, who open the proceedings here. Also both bands have three members. Stylewise the two bands are related but there are minor differences. They operate both in a corner where rock meets electronic meets improvisation.
 
There is the use of real instruments, guitar, drums, harmonium with the additional use of laptops to create an expanded rock sound. A bit like Fessenden or Haptic does, but in say 'Olchmin' by Good Luck Mr. Gorsky things are much more musical. They also use a voice in one track, but the soft mumbling is not really my cup of beer. With differences so small, it's hard to believe that these are two different bands. I must admit I didn't notice it until after playing it for the second time and taking a closer look at the cover. The musical quality however is very high for both bands. Great playing, moody music, enough sense of experimentalism, make this a great CD that can easily meet the best in this otherwise not very crowded field. (FdW)
 
 
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cracked monochrom
 
Chromes” by Good Luck Mr. Gorsky mixes the slowly meandering beat of what could be an acoustic version of dubstep with the polished yet intellectually refined jazz ambience of early ECM circa Mick Goodrick or Gary Burton, then adds some electronic crackles and a female voice as ephemeral and adrift in its own world as the best of music from iceland. Yet the tree piece Good Luck Mr. Gorsky, who open up this split-CD, are from the European geographic opposite of iceland, Greece. Throughout their three tracks on this split Good Luck Mr. Gorsky stay within the slowly moving area, defines its own track with a distinct yet warm bassline and the rest of the instruments playing around it. The ECM-ambience is further enhanced when a glockenspiel comes up for a solitary moment in “olchim”, the third track.
 
Eventless Plot, their partners on this release, are also a three piece band from Greece and they dive into associated musical waters, though their mix is somewhat more complex yet more experimental. All six tracks on this unique release are delicate examples of fine, intuitive composing and a sort of musicianship, where a certain feeling counts more than craftmanship. They also mix a little electronic trickery with acoustic instruments, starting off with a low hum overlayed with various things at once, which after Good Luck Mr. Gorsky makes you think of some more dubstep influenced postrock. But inspite of the dark and brooding urban nightscene atmosphere there is a few suprises up around the bend. For instance when vocal samples effectively destroy a song at the end or when relentless feeping sounds introduce a shattering silence of glass chimes, or when “gramma” develops from tiniest beginnings to a mountain of layers of sounds.
 
Both bands and the label are far from prolific, with both bands having appeared on two compilations yet, one of them being release number one of the label, of which this split is release number two. Only that this compilation, titled “bits of quarter blitz”, had been released in 2005. Makes me wonder what took them so long? My hunch is that they are somehow related to the great poeta negra label, who has provided publicity for a few interesting and fascinating bands and projects from Greece, such as 2L8, Neon, Spyweirdos, Dani Joss, Peekay Tayloh or Keene.
After all the beauty of stasis has been a dominant theme in a lot of musical theories and genres, from all kinds of minimalisms to ambient to postrock. (Give aways of this tactic are the chosen name of Eventless Plot and the cover design of the CD.) If the surface don’t shine, how can the contents be beautiful? The shine and grace of small bands of artists getting deep into sounds, their processing and the reworking of the results make for a mindset of openness and experimentation as well as a longing for ease and freedom, that might be found globally these days in all kinds of unexpected places. Their main aim, though, is to prove that there is no movement so small that it won’t be possible to use it as a starting point to build something big and impressive. If that is proven so decisively and effectively as here, then I am happy to wait another three years for the next dose.

Good Luck Mr. Gorsky – Chromes

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