{ "inl": { "name": "工业& 哥特", "supergenre": true, "description": "Industrial 是一个介于摇滚（Rock）和电子音乐（Electronic music）之间的流派。它起源于 70 年代德国战后地下场景，自那时起便一直保持着实验性和晦涩气质。哥特音乐（Gothic music）脱胎于“后朋克抑郁（Post-Punk Depression）”，与 Industrial 共享诸多特征，两种亚文化已交织得如同连体婴。作家 John Savage（约翰·萨维奇）归纳出 Industrial 音乐的五个维度，对这个相当隐秘的流派提供了深刻的洞察：组织自主性、信息获取途径、合成器与反音乐的使用、音乐之外的元素，以及震惊策略。

第一点——组织自主性——可以追溯到这个流派名称的根源：Industrial 一词源于 Industrial Records，这是第一家 Industrial 唱片公司，与其说是一家正式的企业，不如说是一个极端的实验。但这个名字绝非巧合：早期 Industrial 通过要么向后看（黑暗复古/工业时代），要么向前看（黑暗赛博/未来主义）的方式批判当代艺术。音乐中指向工厂和工业生活（噪音、机器）的引用，强化了 Industrial 这一名称。然而 Industrial 并不遵循任何规则，而是喜欢制造一种高度组织化的机器的幻觉，其视觉元素常指向极权主义政权，例如强有力的 Logo、黑-红-白的视觉设计，以及那些被构想为不可阻挡的独立运动般的乐队名称。融合“工业”外观与未来主义或复古美学的特殊时尚亚文化，例如“Steampunk（蒸汽朋克）”或“Cyberpunk（赛博朋克）”，极大地丰富了现代 Industrial 亚文化，有时却被误认为是音乐流派。

Industrial 还热衷于将合成器和反音乐（即噪音）引入其歌曲，以营造复古未来主义——或者更贴切地说——“科技偏执（techno-paranoia）”的氛围，这种气质让人联想到美国小说家 William S. Burroughs（威廉·S·巴勒斯）。摇滚的歌曲结构与电子音乐的声效与配器相结合，特别是 Downtempo（缓拍）、Techno（铁克诺）和 Trance（传思）。与摇滚相比，Industrial 的节奏更慢、更具催眠感，拥有一种明显且极其规整（几乎带有军事色彩）的律动，贯穿大多数 Industrial 曲目。这也导致“Techno”一词被植入许多 Industrial 流派名称中，如“Technoid”、“Dark Techno”、“Cybertechno”等。但 Industrial 完全不似 Techno：其中没有律动或灵魂，只有一股黑暗、搏动的力量，被自身富有创造力的意识所撕裂和折磨。

Industrial 的第四个方面——音乐之外的元素——涉及视觉艺术和时尚，但最重要的是行为艺术。Industrial 文化以其奢华的音乐会而闻名。早在 70 年代，最初的那些音乐演出就已探索了舞台道德可接受的极限，然后远远跨越了这些界限。不仅在舞台上，在封面艺术和歌词中，Industrial 也使用震惊策略：对法西斯主义、纳粹主义、酷刑、自残、异常性行为以及精神错乱、令人不安的意象或声音的引用——所有这些都被电子摇滚的黑暗沉重声响所强化。但 Industrial 绝非法西斯主义；这面镜子照映出那些错误地相信这一点的人，并教导人们如何轻易地被媒体和视觉所操纵。Industrial 是一个具有哲学意味的元流派，这也就是为什么它重视信息获取途径。

Industrial 始终相信音乐无法改变世界。然而它仍在尝试，结果形成了一种攻击性/噪音与忧郁/抑郁之间的精神分裂式身份。这种讽刺的悖论解释了它的许多特征，以及为什么很少有人理解和欣赏这种音乐。但更引人注目的是，这让 Industrial 在超级流派中独一无二：它实际上始终完全处于地下，却存活了这么久（少数几个 Industrial 摇滚巨星除外）。原因在于其钢铁般的亚文化：强大而持久，远比技术上的共同基础更为重要。的确，当你聆听噪音乐（Noise Music）或早期 Industrial，并与 Futurepop（未来流行）相比时，差异之大几乎无可比拟。但只要当代社会仍存在令人厌恶的东西，Industrial，无论风格如何，就有存在的理由。", "genrelist": [ "KRAUTROCK
德国泡菜摇滚 / 宇宙音乐", "(AVANT-GARDE) INDUSTRIAL
先锋工业", "GOTHIC ROCK & DEATHROCK
哥特摇滚 & 死亡摇滚", "ELECTRONIC BODY MUSIC
电子身体音乐 (EBM)", "NOISE MUSIC
噪音音乐", "DARK AMBIENT / DARK INDUSTRIAL
黑暗氛围 / 黑暗工业", "DARKWAVE & COLDWAVE
暗潮 & 冷潮", "INDUSTRIAL ROCK / INDUSTRIAL METAL
工业摇滚 / 工业金属", "ELECTRO-INDUSTRIAL / AGGREPPO
电子工业 / 侵略性流行", "FUTUREPOP
未来流行", "MINIMAL WAVE / SYNTH & MINIMAL INDUSTRIAL (REVIVAL)
极简浪潮 / 合成器极简工业复兴" ], "name_zh": "工业& 哥特" }, "met": { "name": "重金属", "supergenre": true, "description": "尽管对大多数人来说，Heavy Metal（重金属）正（确地说）是更硬、更快的摇滚（Rock）类型，但这个流派实则是“魔鬼的音乐”——布鲁斯（Blues）的延续。经过 70 年代的实验阶段（详见 Classic Metal 古典金属）后，Metal 在很大程度上失去了布鲁斯的影响，并迅速演变为多种不同风格。然而，布鲁斯的两个方面始终保留了下来：关于悲伤、虚无、痛苦、悲剧的歌词，以及一个更为隐蔽的、围绕魔鬼的潜文本（尽管对布鲁斯来说，这更多是一种名声而非真正的主题）。Heavy Metal 以执着的方式放大了这些方面。死亡、毁灭、尸体、僵尸、撒旦、五角星、邪恶主题、大量黑色、酷刑、尖锐哥特式的视觉设计，以及一个既像魔鬼犄角又像字母“M”的手势。这些都是刻板印象中 Metal 视觉/文化的核心元素，它们已变得如此主导，以至于其他任何东西都几乎成了例外的规则。Metal 的视觉语言——一种关于一切黑暗或邪恶事物的象征体系——延伸到相应的时尚中：印有 Metal 图案的黑色 T 恤、黑色皮革、带有尖刺的腕带、长而邋遢的头发、黑色牛仔裤，当然，还有金属配件。

“Heavy Metal”这个术语很好地描述了这个流派的两大基石特征。它“沉重（Heavy）”是因为比摇滚拥有更多的扩音和失真，它也非常“金属（Metallic）”，意味着技术性和理性。Heavy Metal 是流派中过载的工程师，拥有极其技术的独特元素，如爆裂击（blast beats）、双底鼓（double bass drums）、12 弦贝司、闪电般的吉他独奏以及困难的演唱技巧（咆哮、假声、歌剧式、尖叫等）。Heavy Metal 歌曲通常比摇滚歌曲更长，拥有更精细多样的歌曲结构。由于缺乏适合电台播放的格式，Metal 一直远离主流的关注，尽管这个流派在国际上广为人知，并连接着最不同国家之间的乐迷。Riff（重复乐段）甚至比摇滚中更为重要，构成了许多 Metal 歌曲的基础框架。许多 Metal Riff，尤其是早期的，使用了三全音（Tritone）：一种由三个全音组成的音乐不协和音程，传达出一种不安感。因此，自 18 世纪以来，三全音一直与魔鬼相关联（Tritonus Diabolus in Musica Est）。Metal 的另一个吸引力在于它对戏剧性的强烈偏好。Metal 喜欢铺张宏大的风格来强化其信息（通常是关于厄运或邪恶的），无论是通过古典元素、合成器元素、更多的配器、器乐间奏，还是精心制作的前奏。

“Heavy Metal”这个短语可以追溯到 Steppenwolf 著名的硬摇滚（Hard Rock）单曲“Born to Be Wild”，其中提到了“Heavy Metal Thunder”这句歌词——这是对 William S. Burroughs（威廉·S·巴勒斯）小说《Naked Lunch》（《裸体午餐》）的引用。归根结底，在这个流派的早期阶段，Heavy Metal 和 Hard Rock 或多或少是同一回事。

Heavy Metal 在极客文化（nerd culture）中极为流行。这并非巧合：Metal 是为分析型头脑而生的音乐；它不会简单地呈现自己，而是挑战听众仔细地剖析过载的中低频听觉信息。为了吸收全部音乐，Metal 敦促人们以高音量反复聆听。由于极客文化对 Metal 产生了兴趣，它成为定义最清晰、研究最透彻、结构最严谨的超级流派之一，拥有强大的层级谱系和大量（超过 50 个）子流派，有时甚至近乎荒谬。Christian Black Metal（基督教黑金属）、Pirate Metal（海盗金属）和 Viking Metal（维京金属）就是这样的例子。Ninja Metal（忍者金属）被发明出来只是时间问题，但在此之前，在这个最健康的超级流派之一、拥有最忠实乐迷群体的领域里，已经有足够多的内容等待探索。Metal 与硬核朋克（Hardcore Punk）有相当大的重叠，因为两个流派都喜欢速度和重型吉他音乐。Grunge（垃圾摇滚）有时也被视为 Metal 的一部分，但这引发了德国 Metal 乐迷的反弹，他们只信奉所谓的“True Metal（真金属）”：没有 Grunge 或其他跨界元素的 Metal。

尽管 Metal 文化（就像 Hardcore Punk 一样）在很大程度上是无毒品的，但平均酒精消费量往往远高于任何其他音乐文化，某些流派（Folk Metal（民谣金属）或 Viking Metal）被视为最适合喝得酩酊大醉时听的音乐。再加上 Metal 特有的“舞蹈”——甩头（head-banging），Metal 绝非一种内向的流派——它旨在掀翻屋顶。", "genrelist": [ "CLASSIC METAL
经典金属", "PROGRESSIVE METAL
前卫金属", "POWER METAL
力量金属", "GLAM METAL / HAIR METAL / POP METAL
华丽金属 / 长发金属 / 流行金属", "NWOBHM (NEW WAVE OF BRITISH HEAVY METAL)
不列颠重金属新浪潮 (NWOBHM)", "THRASH METAL
鞭挞金属", "EXTREME METAL (BLACK I & SPEED)
极端金属", "CROSSOVER THRASH
跨界鞭挞", "DOOM METAL
厄运金属", "DEATH METAL
死亡金属", "GRINDCORE
碾核", "STONER METAL / ROCK & SLUDGE METAL / ROCK
石人金属/摇滚 & 泥浆金属/摇滚", "SYMPHONIC METAL & GOTHIC METAL
交响金属 & 哥特金属", "BLACK METAL
黑金属", "NU METAL & RAP METAL
新金属 & 说唱金属", "METALCORE / NWOAHM (NEW WAVE OF AMERICAN HEAVY METAL)
金属核 / 美国重金属新浪潮" ], "name_zh": "重金属" }, "rnr": { "name": "摇滚乐", "supergenre": true, "description": "50 年代的摇滚（Rock）仍处于婴儿发育的早期阶段。最初的摇滚流派彼此相当独立，源于许多不同的起源。Rock 'n' Roll（摇滚乐）的确切起源非常复杂，常常是一场深层辩论的一部分。Skiffle（斯基夫）、Rockabilly（山地摇滚）和 Folk Revivals（民谣复兴）都是摇滚的原始形式，展示了从不同路径向更统一声音——即摇滚的黄金时代——缓慢发展的过程。无论如何，Rock 'n' Roll 本身——这一主要流派——是一个开创性的里程碑。这种音乐在历史上首次打破了许多社会壁垒。Rock 'n' Roll 将白人文化（尤其是普通中产阶级的美国白人年轻家庭）与黑人文化（特别是激动人心的黑人 R&B 音乐人）连接了起来。但摇滚也将英国与美国连接了起来。英国的 Skiffle 是对美国 Rock 'n' Roll 受欢迎程度的回应。然而，由于 Skiffle 从未取得突破，Rock 'n' Roll 受到了英国人的欢迎，从而催生了英国布鲁斯摇滚（British Blues Rock）和英伦入侵（British Invasion）。最后但同样重要的是，Rock 'n' Roll 消解了年轻人和老年人之间的音乐壁垒。也就是说：音乐从仅供成人娱乐的形式扩展为青少年生活中至关重要的组成部分。Rock 'n' Roll 赋予年轻人属于他们自己的声音、属于他们的流派、属于他们对父母喜欢听的任何东西的个人革命。

Rock 'n' Roll 引入了典型的摇滚乐器配置，由四到五位乐手组成（尽管三人配置也有可能）：主唱、主音吉他、节奏吉他、鼓和贝斯（主唱也可能演奏乐器）。Rock 'n' Roll 基于跳跃布鲁斯（Jump Blues）节奏，具有强烈强调的后拍（backbeat）。Rock 'n' Roll 甚至比其直接前身早期节奏蓝调（Early Rhythm 'n' Blues）和 Jump Blues 更快，对贝斯的强调更少，并以电贝司替代了低音提琴。

“Rock 'n' Roll”的词源揭示了其潜台词：这个短语是古老的非裔美国人性爱俚语。当然，并非所有 Rock 'n' Roll 歌曲都涉及性，但在保守的 50 年代，许多歌曲极其震撼和享乐主义，有些艺术家几乎没有掩饰其肮脏的心思。比如 Jimmy Lloyd 的《Rocket in my Pocket》。许多家长表达了严重关切，宗教人士也附和声讨：Rock 'n' Roll 是魔鬼的音乐。但禁果最甜，摇滚沉迷于其自身危险与刺激的美妙光环中；这种光环在 Rock 'n' Roll 时代逝去后仍萦绕许久。有趣的是，这个术语也指代情侣通常在 Rock 'n' Roll 中跳的舞蹈类型，例如扭摆舞（twist）：“rocking”（向对方舞动）和“rolling”（拉开距离）。

1960 年，Rock 'n' Roll 在很大程度上失去了其大胆的精神，摇滚热潮开始消退。音乐变得循规蹈矩/政治正确，Soul（灵魂乐）作为主导音乐力量接管（尤其是在电台和电视上），却显然缺乏 Rock 'n' Roll 的特征。“扭摆舞（Twist）”——一种摇摆抖动的舞蹈类型——的流行在 60 年代初期复兴了摇滚，并防止了这个流派在英国人将其塑造成流行音乐坚如磐石的基础之前就灭绝。

Rock 'n' Roll 本身在随后的几十年里已基本消散。除了 Rockabilly 和 Surf Rock（冲浪摇滚）在日本复兴外，这种音乐大多被视为过去的事情。然而，对 30 年代（Swing（摇摆乐））和 50 年代（Rock 'n' Roll）早期亚文化（时尚、设计和音乐）的复古兴趣证明，Rock 'n' Roll 同样能像它在 50 年代那样激发当代年轻人的热情。毕竟 Rock 'n' Roll 等于速度和能量；它驱使人们迷失自我，变得狂野、无法无天、享乐主义——变得 Rock and Roll。", "genrelist": [ "SKIFFLE (REVIVAL)
噪音爵士复兴", "ROCK 'N ROLL & ROCKABILLY
摇滚 & 山地摇滚", "AMERICAN & BRITISH FOLK REVIVAL
美英民谣复兴", "SURF ROCK / INSTRUMENTAL
冲浪摇滚 / 器乐摇滚", "GARAGE ROCK
车库摇滚" ], "name_zh": "摇滚乐" }, "gld": { "name": "黄金时代/ 经典摇滚", "supergenre": true, "description": "“黄金时代（Golden Age of Rock）”或“经典摇滚（Classic Rock）”这两个术语并不常用，但对其含义并无争议。摇滚在 60 年代以一种难以想象的方式彻底爆发，其主导地位如此之强，以至于至今仍被许多音乐记者视为最重要的流行音乐流派。自这个时代以来，许多音乐杂志、音乐节和著作都将“Rock”这个形容词用作所有流行音乐的总称。许多艺术家至今仍在演出，并已成为真正的摇滚传奇。事实上，那些已经停止演出的，都是已经去世的人。这证明了这些艺术家对自己音乐的热情，也证明了“黄金时代”这一术语的合理性。

大量事件的汇合构成了 Classic Rock 革命的核心。二战的余波自 1958 年起开始消退，随之而来的是一个漫长的繁荣时期。对更美好未来——即一个和平与幸福的世界——的信念，构成了强大的反主流文化嬉皮运动（hippie movement）的蓝图。安非他命（amphetamines，二战期间被广泛使用）变得更便宜、更流行、产量更高，并一直保持合法直到 1971 年。安非他命不仅塑造了 Rock 'n' Roll，更是将所有摇滚塑造成当时最具能量的音乐，而迷幻药物（psychedelic drugs）的流行则导致实验和流派分化。避孕药（contraceptive pill）于 1960 年问世，是有史以来女性解放最伟大的转折点之一。同年，英国政府免除了男性的兵役。一次幸运的连击同时解放了（英国）女性和男性青年。不言而喻，所有这些事件的高潮导致了一场长达十年的派对，没有人想体验宿醉的痛苦。

由于这些历史事件，大多数 Classic Rock 流派起源于英国，但摇滚很快在大洋彼岸变得极为流行。传奇的摇滚欢乐与自由区，如旧金山的海特-阿什伯里区（Haight-Ashbury District）或伦敦的苏豪区（Soho），被证明是天才的完美温床。在英国，海盗电台（pirate radio）从 1964 年开始播放摇滚音乐。一种“叛逆”的概念立即与该音乐联系在一起。1967 年，政府关闭了这些电台，导致流行音乐（Pop）与摇滚（Rock）之间的差距进一步扩大（电台 vs 现场 / 主流 vs 另类）。

Classic Rock 进一步吸收了布鲁斯（Blues）和 R&B 的元素，摇滚的通用蓝图就此确立。音乐变得更有结构，采用顺序模式（主歌-副歌-主歌-副歌-间奏/独奏-副歌），尽管完全相反的情况也同样存在——前卫摇滚（Prog Rock）和实验性迷幻摇滚（Acid Rock）可能完全缺乏任何结构。

黄金时代摇滚的典型特征是多轨录音室（multi-tracking recording studio）的出现。多轨录音允许作曲者录制歌曲的不同部分并分别编辑。最初只有三个音轨，很快是四个，然后是八个，现在 24+ 轨已是标准。通过多轨录音，还可以录制、播放并再次录制（叠加录制，overdubbing）以创造出更丰富或更“厚重”的声音。许多其他技术突然变得可能：变速、剪切、循环、回声、莱斯利音箱（leslie speaker）等。在 Classic Rock 时代，所有这些开创性的技术使得创作无法现场演奏的音乐成为可能，专辑也变得比以前宝贵得多。它们展现出了引人入胜、超凡脱俗的音乐，带有实验性（通常是迷幻的）声响，进一步加剧了已经如火如荼的摇滚狂潮。像 George Martin（乔治·马丁）、Brian Wilson（布莱恩·威尔森）和 Phil Spector（菲尔·斯佩克特）这样的著名制作人，在揭开多轨录音所能展现的所有秘密方面极速前进。

与在其他超级流派中相比，Classic Rock 艺术家更难以被归入单一流派。在这个高度实验性的时代，大多数艺术家在同一张专辑中展现了不同流派的作品。从布鲁斯（Blues Rock）到金属（Classic Metal）的跨界，使得对 Classic Rock 艺术家进行整齐划一的划分基本上毫无意义。", "genrelist": [ "(MERSEY)BEAT / BRITISH INVASION
默西节拍 / 英伦入侵", "FOLK ROCK
民谣摇滚", "BRITISH BLUES & BLUES ROCK
英伦蓝调 & 蓝调摇滚", "PSYCHEDELIC / ACID ROCK & PSYCHEDELIA
迷幻摇滚 / 酸性摇滚 & 迷幻乐", "HARD ROCK
硬摇滚", "PROGRESSIVE ROCK, ART ROCK & SYMPHONIC ROCK
前卫摇滚 / 艺术摇滚 & 交响摇滚", "KRAUTROCK
德国泡菜摇滚 / 宇宙音乐", "GLAM ROCK / GLITTER ROCK / SHOCK ROCK
华丽摇滚 / 闪耀摇滚 / 休克摇滚", "SOUTHERN ROCK
南方摇滚", "HEARTLAND ROCK & A.O.R. (ADULT ORIENTED ROCK)
心脏地带摇滚 & AOR" ], "name_zh": "黄金时代/ 经典摇滚" }, "pwv": { "name": "朋克摇滚/ 新浪潮", "supergenre": true, "description": "朋克（Punk）、后朋克（Post-Punk）和新浪潮（New Wave）构成了摇滚史上有据可查的一个篇章，可能是因为这些主角在如此短的时间内展现了如此多的演变。最初作为最朴素、最纯粹的摇滚形式，它演变成一个拥抱古怪的概念运动。一开始，朋克是后来新浪潮的反面：大众吸引力、成人的兴趣、大量后期制作、明星光环、折衷主义——正是 70 年代早期前卫摇滚（Progressive Rock）和体育场摇滚（Stadium Rock）的那些特征，而这些特征最初正是点燃朋克反抗的导火索。摇滚已经完全失去了与年轻人群的联系，回归根源早已刻不容缓。

朋克心态可以追溯到 70 年代之前：简短有力的 Riff（重复乐段）和简洁激昂的歌曲这一概念可以追溯到力量流行（Power Pop）的根源。所谓的“强力和弦（power chords）”不仅构成了朋克的基础，甚至在朋克杂志《Sniffin' Glue》的一句名言中被戏仿：“这是一个和弦。这是另一个。这是第三个。现在去组个乐队吧！”这句话揭示了早期朋克摇滚（Punk Rock）乐队的业余程度。朋克几乎是一种关于无能的宣言：任何人都能做到。确实，一些著名艺术家甚至不会读谱或几乎不会弹吉他。作为抗议的活典范，朋克懂得如何将音乐带回年轻人身边：原始、真诚、低保真、即兴。这与同时期牙买加发生的事情非常相似：朋克和雷鬼（Reggae）是战友，共同抗议权威，将音乐带回街头。朋克是穿着皮革和铆钉的罗宾汉。一种 DIY 和邋遢文化（毒品、蓄意破坏、擅自占用空屋、骚乱、涂鸦）与这种顽童的缩影融为一体，由“朋克”——那些不干好事的孩子们——创造并为朋克而存在。而这正是令朋克在整个年代里一直具有吸引力的原因。如同车库摇滚（Garage Rock）和 Grunge（垃圾摇滚），朋克是原始的：是所有折衷主义和“知识分子”摇滚流派在绞肉机中留下的碎末。

从技术上讲，朋克使用比大多数摇滚流派更快的速度，配器精简。和弦简单而有力，人声通常动态范围很小，除非在嘶喊时。但后朋克和新浪潮使用了更广泛的歌曲结构、人声范围和配器。因此，一个技术上的共同基础似乎遥不可及。将这些不同风格联系在一起的，是理念的力量和对视觉（尤其是时尚）的强烈重视。整个朋克和新浪潮时代被强大的意象、令人震惊的个性和新技术所主导。朋克和新浪潮都侧重于概念和信息。这些不是关于日常生活或个人情感的歌曲。朋克和新浪潮以一种悲观、愤世嫉俗、颠覆或忧郁的方式，关注社会的结构。

朋克和新浪潮的谱系始于一大批零散的朋克子流派，例如 Queercore（酷儿核）、Cowpunk（牛仔朋克）、Gypsy Punk（吉普赛朋克）、Riot Grrrl（暴女）、Celtic Punk（凯尔特朋克）、Street Punk（街头朋克）、Art Punk（艺术朋克）、Oi!-Punk（Oi! 朋克）、Skate Punk（滑板朋克）、Pop Punk（流行朋克）、Psychobilly 与 Horror Punk（恐怖朋克）、Ska Punk（斯卡朋克）…… 朋克几乎成了一个万能后缀。每一个跨界组合的可行性都受到检验，只有最具影响力或最持久的才被收录在地图上。回顾来看，朋克分支为两大音乐流：硬核朋克（Hardcore Punk）和后朋克/新浪潮（Post-Punk/Wave）。当新浪潮开始拥抱合成器并跨界到流行乐（即 Synthpop（合成器流行））时，它抑制了后朋克并将其推向地下（进入哥特/工业领域）。尽管 Synthpop 和新浪潮可能与朋克大相径庭，但它们使用了类似的达达主义（Dadaism）和拼贴（collage）概念，并将这些概念扩展到音乐以外的艺术形式，例如时尚和行为艺术。Industrial（以及哥特）继承了朋克/新浪潮对现实的侵入，成为流行音乐中最终的颠覆者。", "genrelist": [ "PUB ROCK & PROTO PUNK
酒吧摇滚 & 原始朋克", "PUNK ROCK
朋克摇滚", "ANARCHO-PUNK, CRUST PUNK & D-BEAT / DISCORE
无政府朋克 / 硬壳朋克 & D-Beat", "SKA REVIVAL (2-TONE), SKA PUNK & SKACORE
斯卡复兴 / 双色 / 斯卡朋克 & 斯卡核", "POST-PUNK
后朋克", "NO WAVE
无浪潮", "NEW WAVE
新浪潮", "HORROR PUNK & PSYCHOBILLY
恐怖朋克 & 疯狂摇滚", "SYNTHPOP & NEW ROMANTICS
合成器流行 & 新浪漫", "SKATE PUNK & POP PUNK
滑板朋克 & 流行朋克" ], "name_zh": "朋克摇滚/ 新浪潮" }, "hcp": { "name": "硬核朋克", "supergenre": true, "description": "硬核朋克（Hardcore Punk）于 70 年代末期从当时占据主导地位的朋克摇滚（Punk Rock）音乐时期演变而来。当 80 年代到来时，许多艺术家厌倦了朋克的过火行为（或者至少是媒体乐于夸大其丑闻的朋克名声），又或者他们对朋克政治信息的消散感到幻灭。起初只是朋克的一个子流派（在众多子流派之中），在美国和英国都呈指数级增长。一批试图注入政治内容或纯粹性理念——无论是在音乐还是生活方式上——的乐队正在崛起。硬核乐队如同雨后毒蘑菇般从腐烂的朋克土壤中冒了出来。尤其是在美国，每个地区或城市都有了自己著名的硬核乐队，每所高中都经历过本地的业余硬核少年乐队。

从技术上讲，硬核基于朋克摇滚，但速度更快，歌曲更短、更具爆发力。它就像一首三、四分钟的朋克摇滚歌曲被压缩到两分钟不到的时间跨度内。如此高的速度显然对演唱产生了影响：硬核主唱以短促爆发的方式嘶吼，几乎像军队的军士长。然而，配器、歌曲结构和声音处理方式与朋克相似。

硬核更多地被定义在其生活方式中：一种纪律与纯粹性的亚文化。许多硬核乐队和乐迷遵循严格的反享乐主义守则：不吸毒、健康饮食、光头或短发、牛仔裤和 T 恤，以及象征荣誉和尊重的徽章或胸针。尽管如此，人们对硬核朋克的普遍印象往往偏向负面，因为其音乐内容以及乐迷或乐队的外表经常与攻击性和暴力联系在一起。但这主要是由于对该亚文化缺乏了解。

强烈的社区感和自豪感弥漫在硬核文化中，反复出现的口号如“Hardcore Will Never Die”（硬核永不亡）和“Forever Hardcore”（永远硬核）。奇特的是，同一种强调力量的心态——伴随同志情谊和口号——在 Hardcore Techno（硬核铁克诺）中也可见踪迹，尽管这个流派在技术上与 Hardcore Punk 差异巨大。Mosh Pit（躁动圈），一种人群在环形中猛烈踢打推搡的“舞蹈”形式，也起源于硬核文化，并至今仍是其中的常见组成部分。

硬核基本上是一种地下事物；主流电台或电视关注度极低，尽管它的格式非常适合电台播放（就歌曲长度而言）。相反，硬核比任何其他超级流派都更依赖于演出或现场（gig）而存在。硬核演出比其他的更小，通常在室内进行。然而，观众往往极度狂热，乐队与观众之间的互动也更加密切，舞台更小、更低。在那里，硬核的 DIY 精神转化为表演，乐队与观众之间产生电流般的协同效应，Mosh Pit 有机地形成又消散，社区得以建立…… 那就是硬核的家。

通过与重金属（Heavy Metal）融合，硬核朋克实现了多样化并懂得如何自我重塑。但硬核最引人入胜之处并非音乐或亚文化本身，而是其深远的 DIY（自己动手）精神——它揭露了音乐产业中的社会惯例，以及这些惯例如何被过于轻易地接受而非挑战。硬核主要与小厂牌合作，或者乐队成员自己创办唱片厂牌。艺术家成为企业家并与资本主义保持距离。在 T 恤售卖等本地支持方式的帮助下，他们得以生存并保持其音乐完整性。当然，并非所有硬核乐队都反商业或反对大厂牌。事实上，（后）硬核乐队未能取得主流突破这一现实，促使某些乐队改变他们的声音。这为他们带来了更大的听众群，尽管他们仍然被迫与较小的独立厂牌合作。于是，独立摇滚（Indie Rock）便诞生了。", "genrelist": [ "ANARCHO-PUNK, CRUST PUNK & D-BEAT / DISCORE
无政府朋克 / 硬壳朋克 & D-Beat", "ORIGINAL HARDCORE (PUNK)
原始硬核朋克", "CROSSOVER THRASH
跨界鞭挞", "GRINDCORE
碾核", "POST-HARDCORE, EMO(CORE) & SCREAMO
后硬核 / 情绪核 & 尖叫核", "MATH ROCK & MATHCORE
数学摇滚 & 数学核", "METALCORE / NWOAHM (NEW WAVE OF AMERICAN HEAVY METAL)
金属核 / 美国重金属新浪潮", "SYNTHCORE & CRUNKCORE
合成器核 & 旷克核" ], "name_zh": "硬核朋克" }, "alt": { "name": "另类摇滚/独立摇滚", "supergenre": true, "description": "另类摇滚（Alternative Rock）在 90 年代成为一种巨大的现象，并且在那个十年里几乎主导了整个摇滚场景。但这个术语相当模糊，因为从 80 年代中期以后，还有什么摇滚流派能真正被视为主流呢？摇滚一直是音乐中的问题儿童，猛力踢蹬、搅扰所能触及的一切。因此，另类摇滚是 80 年代中期到千禧年末的多种不同风格的集合，但与当代摇滚流派相比，它们拥有更多的共同基础。

另类（或缩写为“Alt”）摇滚的特征是叮当作响的吉他、大量的失真踏板、音箱失真、伤感或黑暗的歌词，偶尔还有来自合成器的微小影响。这导致了音乐变得非常“厚重”和沉重，像一堵愤怒的音墙（wall of sound）；尤其是与相对素净的朋克摇滚相比。歌曲通常比任何其他摇滚超级流派（前卫摇滚 Prog Rock 除外）都要长，平均速度低于 Rock 'n' Roll、朋克摇滚或硬核，就摇滚而言算是相当慢了。

独立摇滚（Indie Rock）这个名称来自“independent（独立）”的缩写，指独立唱片厂牌。独立厂牌与以营利为重心的大型主流唱片公司——即“majors（大厂牌）”——相对，规模更小、营利导向更弱。独立厂牌要么是大量年轻业余乐队的有意选择，要么是它们唯一的出路。这些初出茅庐的音乐人要么非常在意其音乐的完整性，不想因大厂牌制作人的任性与己背道而驰而妥协，要么则是未能成功打入主流。

另类摇滚和独立摇滚是同义词。后者是英国音乐媒体所用的术语，前者则是美国媒体在该音乐鼎盛时期所用的术语。有时 Indie Rock 被专门用来指代第一波另类摇滚（80 年代），因为那时所有乐队都签约独立厂牌。在 Grunge（垃圾摇滚）大获成功后，更多的另类摇滚乐队签约了更大的厂牌，这迫使英美媒体交替使用这两个术语，而美国记者也将他们的第一波另类摇滚称为“College Rock（学院摇滚）”。

考虑到 EDM（电子舞曲）大爆炸在同一时期的爆发，另类摇滚的份量被严重低估了。在那个时代，摇滚依然是一座力量之塔，抵御着这波全新且令人兴奋的电子音乐流派的冲击。其如此受欢迎的原因尚不清楚，但一个重要的贡献因素是，另类摇滚懂得如何与 90 年代年轻人的所有愤怒、挫败、怀疑、恐惧和抑郁相连接。与任何其他超级流派相比，另类摇滚更像一位心理学家，深入任何青少年或青年内心的黑暗灵魂，充当止血带，用音乐治愈伤口。强烈的反体制心态（反对大厂牌、政府或肤浅的社会惯例）也帮助独立摇滚将摇滚的生命延续到了新千年。

独立摇滚在音乐史上占有两个里程碑式的功绩。一方面，随着更多厂牌的出现、更多表演机会以及更多另类电台的涌现，人们对年轻、有潜力的摇滚天才的关注度提高了。另一方面，它为女性摇滚（和流行）艺术家铺平了道路。音乐行业中像“主唱（front-man）”这样的常用词汇失去了意义，暴露了其源于摇滚大男子主义文化悠久传统的性别歧视本质。

独立摇滚并未消亡，而是在 00 年代和 10 年代作为一种平行的摇滚流继续存在（第三波另类摇滚）。这个流派仍然流行，但这也与以下事实有关：这个术语已成为任何难以归类的原始、传统、重型摇滚乐队的便捷标签。回顾来看，许多被贴上（甚至正在被贴上）“另类”标签的乐队并非真正如此。“另类”这个词与摇滚并列时听起来很酷：它是一个完美的营销工具，寄居在青少年和艺术家们共同的大众恐惧症之上。", "genrelist": [ "JANGLE POP / INDIE ROCK (& PAISLEY UNDERGROUND)
叮当流行 / 独立摇滚 / 佩斯利地下", "NOISE ROCK
噪音摇滚", "DREAM POP & SHOEGAZE
梦幻流行 & 盯鞋/自赏", "GRUNGE
垃圾摇滚 (Grunge)", "RAP ROCK, RAPCORE & FUNK METAL
说唱摇滚 / 说唱核 / 放克金属", "SKATE PUNK & POP PUNK
滑板朋克 & 流行朋克", "MATH ROCK & MATHCORE
数学摇滚 & 数学核", "ALTERNATIVE ROCK / INDIE II
另类摇滚 / 独立摇滚 II", "BRITPOP
英式摇滚 (Britpop)", "POST-GRUNGE
后垃圾摇滚", "POST-ROCK
后摇滚" ], "name_zh": "另类摇滚/独立摇滚" }, "con": { "name": "当代摇滚", "supergenre": true, "description": "由于缺乏一个恰当的名称，“当代摇滚（Contemporary Rock）”指代 21 世纪所有新的摇滚流派。尽管这听起来像是一个为了制造虚假统称而创造的无意义术语，但当代摇滚流派确实共享共同特征，尽管并非技术层面的。总体而言，两种主导力量控制和塑造着这些流派（以及摇滚音乐世界之外）的兴起：回收再利用（recycling）和折衷主义（eclecticism）。剪贴技术（cut-and-paste technique）从旧流派中形成新流派。选择就是力量，原创性/实验性被高估了。摇滚乐队专注于音乐的质量和对个人声音的探索，而不是绝望地以流派的形式发起新的“十字军东征”。90 年代音乐流派的大爆发（不仅是 EDM，还有 Indie）无疑导致了流派疲劳和对无法分类声音的逃避——诸如 Witch House（女巫之家）这样的“反流派（contra-genre）”就是其具体证据。确实，有人可能会说，在 21 世纪，流派已变得另类或晦涩，而融合（fusion）已成为主流。

当代摇滚缺乏一个技术上的定义。这个流派利用不同的影响来创造一种新的摇滚音乐概念。合成器——曾经革命性和激动人心——已变得像吉他或鼓一样普通，成为摇滚乐器的一员。受到流行、电子甚至民谣（Folk）的影响，一切皆有可能。可以说当代摇滚被定义为“不同于过去的任何一种摇滚”。但即便是这一点也不成立，因为车库摇滚（Garage Rock）和后朋克（Post-Punk）的复兴恰恰是这一规则的例外。

当代摇滚的力量在于伸出手去，与其他音乐流派搭建桥梁。亚文化壁垒（我们对抗他们）的时代已经终结。流派竞争的时代已经消退。模糊的非流派“Mash-Up（混搭）”就是一个显著的例子：Mash-Up 将各种流派组合成一种折衷的混合物，充满了惊喜和对无关风格的刻意拼接。

大约在 1999-2002 年，舞曲（Dance）变得比（另类）摇滚更受欢迎，这令许多摇滚爱好者的心中充满了恐惧。然而在新千年之初（约 2003-2004 年），当代摇滚证明了自己足够强大，将舞曲音乐推回了地下。如今，这个流派仍然是流行音乐中的一股强大力量，尽管当代摇滚以及越来越多的流媒体应用程序和网站的出现已经暗示，未来将不再有任何流派的垄断，所有流派——无论其为何——将更为平等地分配受欢迎程度。

至少值得注意的是，在一个充满不公的社会（金融危机、气候变化、恐怖主义、种族主义和移民问题、能源危机、日益扩大的收入差距……）中，植根于反动亚文化的新的抗议音乐流派却未能出现。这或许只能通过对当代社会中艺术家的反作用力——全球化、大众传播、世俗化、科技物质主义、封闭化与孤立化——所具有的更巨大影响来解释。但摇滚不应为这些当代行为模式背锅。所有超级流派都在努力推出纯粹主义风格，并维持其曾经拥有的封闭身份。然而，如果说当代摇滚及其同道如 Mash-Up 能教会我们什么，那就是我们应该将所有流行音乐视为一个庞大的、坚不可摧的大家庭，而不是一系列群体：一个由节点构成的复杂网络——一片声音的星座（constellation of sound）。", "genrelist": [ "POST-BRITPOP
后英式摇滚", "EMO-ROCK
情绪摇滚 (Emo)", "GARAGE & POST-PUNK REVIVALS / NU-RAWK
车库/后朋克复兴 / 新原始摇滚", "NEW PROG / NU PROG / POST PROG (ROCK)
新前卫 / 后前卫摇滚", "INDIETRONICA & CHILLWAVE
独立电子 & 寒潮", "DANCE-PUNK & NU RAVE
舞蹈朋克 & 新锐舞", "INDIE FOLK & FREAKFOLK / NEW WEIRD AMERICA
独立民谣 & 怪诞民谣 / 新怪美" ], "name_zh": "当代摇滚" }, "pop": { "name": "流行音乐", "supergenre": true, "description": "Pop（流行音乐）很难定义。其定义的内涵随着时间不断变化。它最初是由白人词曲作者网络为低吟歌手和合唱团预制歌曲（Tin Pan Alley，汀潘巷），随后变成个人的征途（唱作人），最终成为融合与解放的先驱——黑人艺术家和青少年听众由此获得了认可和舞台。

从六十年代到八十年代，Rock（摇滚乐）构成了 Pop 的基础，但这个基础在九十年代转向了 House（浩室），在零零年代又转向了 R&B/Rap（节奏蓝调/说唱）。近来（2010 年起），Pop 变得过于兼收并蓄，以至于难以再确定另一个作为主导核心的超级流派。无论这个核心是什么，Pop 始终是一种更轻快、更易接受的变化，拥有朗朗上口、突出的旋律，但不过于复杂。Pop 歌曲总是百分之百适合电台播放，即经过编辑使其时长在四分钟或以内，歌词政治正确，时常近乎浅薄。Pop 拥有朴素的结构，易于记忆，和弦或旋律也是如此。对音乐录影带和视觉表演的高度关注多年来已成为 Pop 行业的标配，因为大多数 Pop 都在努力推销。相比任何其他超级流派，Pop 带有更浓的商业属性，或者更准确地说——Pop 会转变成最畅销的东西。

\"Pop\"一词是 popular music（流行音乐）的缩写，最早在五十年代被创用。那个年代的低吟歌手是第一批被称为\"pop\"的艺人。这些艺术家拥有巨大的大众吸引力，他们的词曲作者会从最多样化的流派中寻求灵感，以找到完美的成功公式。这意味着最初 Pop 并不被视为一个独立的流派，而是来自不同流派中最流行的那些音乐的集合。这当然是一个视角问题。尽管 Pop 作为一个群体可能是模糊的——尤其是在早期——但其后出现的各种子流派通常是定义清晰的。因此，Pop 本身理所当然地是一个超级流派。有时 Pop 被用作所有流行音乐的统称，但这极易造成混淆，在 musicmap 中不会采用这种用法。

Pop 音乐的力量在于对流派或圈层标签的否定：Pop 不试图带来新的亚文化或传达某种信息。它希望包容每一个人，只为让人享受乐趣。Pop 想要平易近人：没有壁垒，没有门槛，没有羞耻。一切皆可。但 Pop 不应被视为一个贬义词：每个人都至少喜欢某一首 Pop 歌曲，无论是 Britpop（英伦摇滚）、Synthpop（合成器流行）、Disco Pop（迪斯科流行），还是其他种类。毕竟，Pop 与创新或品质并不是不可调和的。那么，究竟什么才定义了 Pop 音乐？Pop 就是最能吸引大众的东西，是不同音乐口味之间的公分母，是最灵活、最实用的风格。永不在某一方面走向极端，也永不过于平淡或乏味；Pop 力求快速抓住注意力并维持住，但从不用冒犯或令人不安的方式。

在美国，布什政府自 2000 年上任起对 Dance/EDM 派对的普遍压制，导致 Dance（舞曲）——尤其是 House——与 Rap、Nu R&B（新节奏蓝调）和 Pop 等其他流派之间出现了更强的交织。电子采样和充满灵魂的人声开始出现在通常会被忽视的 EDM 唱片中。美国 EDM 艺人被迫跨界进入 Pop 以求在经济上生存下去，这进一步加深了当代（流行）音乐的多样性、复杂性和折衷主义。奥巴马就职后，\"纯\"EDM 终于在美国取得突破——这是自其在芝加哥和底特律诞生以来从未有过的。然而，到那时，Pop、Dance、Rap、R&B 和 Rock 已经紧密交织在一起（尤其是在流媒体音乐服务的兴起和多媒体日益增长的推动下），以至于甚至可以有理由抛弃 Pop 作为一个独立的超级流派，将其仅仅视为最流行和最商业化的音乐的集合——就像它最初那样。
", "genrelist": [ "SCHLAGER
施拉格流行", "SKIFFLE (REVIVAL)
噪音爵士复兴", "BRILL BUILDING POP & CROONERS
布里尔大厦流行 & 低吟歌手", "BUBBLEGUM & TEENYBOP
泡泡糖流行 & 青少年流行", "COUNTRY POP & COUNTRY ROCK
乡村流行 & 乡村摇滚", "SINGER/SONGWRITER
唱作人", "(EARLY) POP ROCK & POWER POP
早期流行摇滚 & 强力流行", "SOFT ROCK / ADULT CONTEMPORARY (A.C.)
软摇滚 / 成人当代", "SYNTHPOP & NEW ROMANTICS
合成器流行 & 新浪漫", "HI-NRG / EURODISCO
高能舞曲 / 欧洲迪斯科", "DISCOPOP / POST-DISCO
迪斯科流行 / 后迪斯科", "INDIE POP (TWEE)
独立流行 / 矫饰流行", "DREAM POP & SHOEGAZE
梦幻流行 & 盯鞋/自赏", "ASIAN POP
亚洲流行", "BRITPOP
英式摇滚 (Britpop)", "DANCE POP
舞曲流行", "POST-BRITPOP
后英式摇滚", "ELECTROCLASH (NU WAVE)
电子冲突 / 新浪潮复兴", "INDIETRONICA & CHILLWAVE
独立电子 & 寒潮", "ELECTROPOP
电子流行", "INDIE FOLK & FREAKFOLK / NEW WEIRD AMERICA
独立民谣 & 怪诞民谣 / 新怪美" ], "name_zh": "流行音乐" }, "cou": { "name": "乡村音乐", "supergenre": true, "description": "对于许多不熟悉这种音乐的非美国人来说，Country（乡村音乐）感觉像是一个微小且无足轻重的流派。然而，Country 几十年来一直是美国最畅销的流派之一，根据众多统计数据，它至今仍位居销量最高的类别之列。在七十年代，美国公民甚至可以收听超过 600 家不同的乡村音乐电台。该流派一直与电台紧密相连，是最早通过电波进入众多美国家庭客厅的音乐流派之一。因为这就是 Country 的核心所在：日常生活、家庭、家。许多乡村乐队以家族命名和/或本身就是真实家族，这并非巧合。深厚的家庭价值观构成了贯穿 Country 历史的常见主题，但有时酒、毒品、通奸和犯罪行为等更黑暗的现实会击碎那种完美的幻象。于是，这样的困境就成了催化剂，在该流派内部创造出多样性。不过 Country 涉及的远不止家庭。上帝和祖国是 Country 内容的另外两个反复出现的核心价值观。信仰这一抒情主题与 Gospel（福音音乐）建立了联系（Country Gospel，乡村福音），同时也与信仰其他宗教的人群拉开了距离。

Country 历史悠久，其主要使用非常经典的（弦）乐器：班卓琴、小提琴、原声吉他、提琴和口琴。在后来的几十年里，该流派一直避免融入太多其他乐器，尤其是电子乐器。凭借缓慢的节奏和稀疏（通常是原声）的编制，Country 非常强调人声。许多男性和女性乡村歌手都以其嗓音闻名——这也许是该流派最重要的乐器。与 Folk Rock（民谣摇滚）一样，人声应具有传递情感故事或歌谣的力量。二重唱，尤其是男女对唱关于爱情的歌曲，在该流派中也很常见。Country 基于传统的歌谣或曲调，旋律与和弦相当朴素，类似于 Folk（民谣）音乐（后者对该流派有过重要影响）。

由于 Country 可以追溯到偏远、荒芜、乡村的地区，其名称暗示了地理上的起源。但 Country 很快征服了城市景观，例如田纳西州的纳什维尔——那座传奇的 Grand Ole Opry（大奥普里）舞厅从 1925 年开始每周上演各种乡村音乐流派，直至今天。\"Country\"一词也暗示了深植于乡村亚文化中的爱国主义精神。Country 与美国文化的紧密联系以及国民自豪感赋予了它强大的国内吸引力，但海外吸引力较弱。然而，某些 Country 歌曲和艺人在海外也取得了巨大的成功，展示了该流派所能传递的力量和情感。

Country 的一个特殊之处在于它有时被视为 Blues（蓝调音乐）的白人等价物——代表一种刻板形象：普通、传统、信奉基督教的美洲男子。两大最初的公告牌音乐类别对此毫不含糊：流行的音乐要么是\"种族音乐\"（由黑人制作：Blues 和黑人 Jazz 爵士乐），要么是\"山里人音乐\"（由白人制作：Country）。乡村亚文化可能是保守的，有时被指责存在恐同或种族主义事件，例如崇拜南方蓄奴的邦联。然而，该流派过于宽广和丰富，不能将其简化为最政治极端的那些代表。也曾有过成功的黑人音乐家。

一种可能的细分方式是按代际划分，因为 Country 与家庭密切相关。这些（六代）常常是真实的家族世代（例如，著名乡村歌手 Hank Williams 汉克·威廉姆斯和他几乎同样出名的儿子 Hank Williams Jr.）。第一代和第二代有时被称为\"Traditional Country（传统乡村）\"。Rock 在白人音乐文化中的主导地位阻碍了 Country 取得广泛的主流突破——尤其是在国际范围内。但该流派独特而强大的特质使 Country 保持了近一个世纪的强大吸引力。", "genrelist": [ "CLASSIC COUNTRY / HILLBILLY
经典乡村 / 乡巴佬音乐", "WESTERN SWING
西部摇摆", "HONKY TONK / HARDCORE COUNTRY
酒吧乡村 / 硬核乡村", "BLUEGRASS
蓝草音乐", "BAKERSFIELD
贝克斯菲尔德之声", "NASHVILLE / COUNTRYPOLITAN
纳什维尔之声 / 都市乡村", "COUNTRY POP & COUNTRY ROCK
乡村流行 & 乡村摇滚", "PROGRESSIVE COUNTRY & OUTLAW COUNTRY
前卫乡村 & 法外乡村", "URBAN COUNTRY
都市乡村", "CONTEMPORARY COUNTRY / NEOTRADITIONALISTS
当代乡村 / 新传统主义", "AMERICANA / ALTERNATIVE COUNTRY
美式草根 / 另类乡村" ], "name_zh": "乡村音乐" }, "rnb": { "name": "节奏蓝调(R&B)", "supergenre": true, "description": "正如其名，Rhythm 'n' Blues（\"R&B\"或\"RnB\"，节奏蓝调）是两种古老音乐流派的强有力结合。一方面是 Gospel（福音音乐，提供节奏），它带来富有感染力的律动节奏，这在其早期的理发店四重唱时代通过拍手和有节奏的颤动人声就已显现。另一方面是 Blues（蓝调音乐），它提供温暖的和弦和丰满的低音。\"Gospel & Blues\"结合了多样的音乐元素，因此是一种高度灵活的混合体裁，成为众多超级流派之间的桥梁。R&B 可以是 Blues 与 Rock（摇滚乐）之间的中间地带，也可以存在于 Rap（说唱）与 Pop（流行音乐）或 Gospel 与 House（浩室）之间，这使它成为最容易接近的音乐流派之一。

所有 R&B 的核心要素是 backbeat（后拍）：每小节的第二和第四拍被强调，从而产生强烈的节奏推进感。Backbeat 使 R&B 极具舞蹈性，最终催生了 Disco（迪斯科）以及夜生活舞曲文化和泡吧的概念。R&B 还以更复杂的节奏和鼓点著称，例如 breakbeat（碎拍）的引入或对打击乐的高度强调。乐器配置源自基本的 Blues 编配：吉他、贝斯和鼓。但几乎总会加入一件或多件其他乐器，选择的依据是其增强声场丰满度并散发温暖舒适感的能力：提琴、合成器、颤音琴、Hammond（哈蒙德）风琴或铜管号。

尽管 R&B 是一个相当多样的流派集合，但乐观、爱与欢乐的共同主题贯穿其中。积极向上的氛围，被艺术家们富有魅力和光彩的表演所放大，使 R&B 成为最受欢迎的流派之一。这种欢乐与 R&B 的前身 Blues 形成了明显决裂。除了一些较小的例外（Early R&B 早期节奏蓝调、Doo Wop 嘟喔普）和一个较大的例外（Disco）之外，所有 R&B 可分为三个比 R&B 本身更为人熟知的强大分支：Soul（灵魂乐）、Funk（放克）和 Urban（都市节奏蓝调）。

Soul 是 Gospel 的世俗化、更偏流行方向的延续：温柔而情感丰富的歌曲（通常关于爱情），制作水准高，但更充满善良的意志力。Soul 实际上指的是一种个人品质的高度道德性：一个拥有\"灵魂\"的人是正义的存在。Soul 是六十年代上半叶主流的主导音乐流派，此后一直保持流行。凭借众多子流派和三次复兴（Neo-Soul 新灵魂乐、Vintage Soul Revival 复古灵魂复兴和 Future Soul 未来灵魂），可以看出 Soul 的力量几乎未曾减弱。

Funk 从 Soul 中演变而来，但向 Jazz（爵士乐）和少量 Rock 延伸，在单和弦基础上创造出更具节奏感的音乐。Funk 带来一种重复的脉冲式律动，每首歌曲都围绕其构建，使该流派比 Soul 更适合跳舞。Funk 喜欢用电贝斯或电声合成器失真来制造\"油腻\"的声音，而打击乐部分与旋律或贝斯部分几乎难以区分：所有乐器已融为一体——即 Funk 的律动。\"funk\"一词源于形容性爱气味的古老俚语：不言自明。许多 Funk 子流派已经出现，近期的复兴证明了其经久不衰的受欢迎程度，尽管 Funk 既从未成为主流也从未处于地下：它知道如何恰好停留在聚光灯的边缘。而这一点是 Disco 所不能做到的：Disco 是 Funk 和 Soul 的融合体，在七十年代末接管了整个流行音乐场景。

Urban 是 R&B 的最新发展形态，它与 Rap、Pop 和少量 Latin（拉丁音乐）融合，形成一种应该在夜店玩乐、专辑销售、现场音乐会和电台表演中都同样适用的融合风格。因此 Urban 已成为一种非常主导的音乐流派，并常因商业化和浅薄而受到批评。\"urban\"一词源于\"Urban Contemporary（都市当代）\"电台格式，其中播放的是最新形式的 R&B，最适合外出时（在城市俱乐部里，故称都市）欣赏。由于 Urban 的流行，一般意义上的 R&B 一词与 Urban 变得同义，对许多（年轻）人来说，这两个流派被误解为同一个东西。但真正的 Rhythm 'n' Blues 是一个极其庞大和多元的音乐家族：一个对其自身作品怀有巨大热情和尊重的谱系，并且通常伴随着几乎必需的邀请——起身，随之舞动。", "genrelist": [ "(EARLY) RHYTHM 'N' BLUES
早期节奏蓝调", "DOO WOP
嘟哇合唱", "MEMPHIS SOUL / DEEP SOUL / SOUTHERN SOUL
孟菲斯灵魂 / 深沉灵魂 / 南方灵魂", "CHICAGO SOUL & DETROIT SOUL (MOTOWN)
芝加哥灵魂 & 底特律灵魂 / 摩城之声", "PHILLY SOUL
费城灵魂 & 女子组合", "EARLY FUNK & P-FUNK
早期放克 & P放克", "DISCO
迪斯科", "SOUL BLUES (SOUTHERN SOUL II)
灵魂蓝调 / 南方灵魂 II", "GO-GO (& BOUNCE BEAT)
Go-Go 弹跳节拍", "DEEP FUNK / RARE GROOVE & NU FUNK
深沉放克 / 稀有律动 & 新放克", "BOOGIE / ELECTROFUNK
布吉 / 电子放克", "NEW JACK SWING / SWINGBEAT
新杰克摇摆 / 摇摆节拍", "NEO SOUL / NU SOUL
新灵魂乐", "URBAN SOUL / POP (NU R&B I)
都市灵魂 / 都市流行 / 新R&B", "URBAN BREAKS (NU R&B II)
都市碎拍 / 新R&B II", "NU DISCO & FUNKTRONICA
新迪斯科 & 放克电子" ], "name_zh": "节奏蓝调(R&B)" }, "gos": { "name": "福音& 先驱", "supergenre": true, "description": "最早的那些流行音乐流派源于多种影响，但根基是在美国奠定的。在 Blues（蓝调音乐）和 Jazz（爵士乐）发展起来之前，一些促成其发展的\"原始流派\"已经在美国流行开来：Ragtime（拉格泰姆）、Stride（跨步钢琴）、Jug Bands（罐壶乐队）和 Skiffle（噪音爵士乐）。但其中最重要的是 Gospel（福音音乐）。Gospel 从黑奴脆弱的歌声演变而来，发展成为一个不可否认的庞大流派，拥有众多子流派。Gospel 很快摆脱了其种族维度：黑人与白人携手共唱上帝之歌。因为 Gospel 关乎的更多是信仰而非种族；关乎相信一个更美好的世界和未来，连接不同的灵魂。

随着 Gospel 的扩展和多样化，对某些艺术家及音乐本身的诚信提出了质疑。有些人是为了金钱而入行，还是他们真的在传讲上帝的道？如今，Gospel 很少出现在主流音乐媒体中，但若是没有它，就不会有 Rhythm 'n' Blues（节奏蓝调），甚至可能根本没有流行音乐。然而，在许多教堂和宗教社团中（尤其是在美国南部），Gospel 仍然强劲地存续着，被大量地创作、演唱，并在布道中被体验，从而在听众心中激发起其他亚文化从未见过的狂喜极乐。

尽管 Gospel 本身已极具折衷性，几乎每一种流行音乐流派——从 Rap（说唱）到 Metal（金属乐）——都被重塑为 Gospel 的一个子流派。因此，缺乏对广义 Gospel 的精确界定，但该流派确实有一些特征。例如，人声通常以\"call-and-response（应答轮唱）\"的方式演唱：这是古老教堂布道的遗风，牧师唱出第一部分，会众合唱回应同一部分。这并非为了创造无伴奏的后拍节奏（尽管确实如此），而仅仅是因为大多数教堂会众是文盲。早期 Gospel 只有钢琴伴奏。打击乐通过人声和拍手实现。然而，不应低估传统 Gospel 所达到的节奏强度——这是这种音乐的另一个关键特征。其他开创性的流行音乐流派则使用他们能找到或买得起的任何配置：诸如班卓琴等易于制作的乐器，或有时是搓衣板、卡祖笛或壶罐等简陋工具。现代或当代 Gospel 从任何流派中汲取线索，因此使用各种各样丰富的乐器。

\"gospel\"一词源于两个古英语词：\"good\"（好，因丢失一个元音而被误传为 God 上帝）和\"spel\"（故事或消息）。因此 gospel 实际上与 godspel 或 goodspel 是同义词：好消息。这一词源很有趣，因为它超越了 Gospel 的宗教（及狭隘）维度：这种音乐首先并且最重要的是一种好消息的传递者——不论听众信仰为何：它是欢乐的先行者。这正是 Gospel 的力量所在：Gospel 将人们聚集在一起，激发社区感，激励人们做好事、带来好处、感受美好。

Gospel 在音乐谱系中常常被遗忘为一个超级流派，被 Blues、R&B 或 Jazz 等更大、更具主导地位的流派所挤占。然而 Gospel 音乐收藏量非常可观，拥有无数艺术家——即使在今天——因共同的基督教信仰而紧密相连。不过，Gospel 已经呈现出如此多的形式和风格，以至于除了信息之外，其共同基础有时难以寻找。作为最古老的流行音乐流派——这个流派之母——Gospel 历经多年发生了巨大的变化，但它已经存活了超过一个世纪：这是其他流派尚待达成的成就。
", "genrelist": [ "(NEGRO) SPIRITUALS & WORKSONGS
黑人灵歌 & 劳动号子", "TRADITIONAL GOSPEL
传统福音", "RAGTIME & STRIDE
拉格泰姆 & 跨步钢琴", "MODERN GOSPEL
现代福音", "RELIPOP & -ROCK / CCM (CONTEMPORARY CHRISTIAN MUSIC)
宗教流行/摇滚 / 当代基督教音乐" ], "name_zh": "福音& 先驱" }, "blu": { "name": "蓝调音乐", "supergenre": true, "description": "Blues（蓝调音乐）几乎和流行音乐本身一样古老。其丰富的历史流经各种流派，就像密西西比河将音乐人从明尼阿波利斯带到南部的新奥尔良。最初，Blues 主要与各种恶习相关联；它被视为亡命之徒和罪犯之歌。但 Blues 更应被看作是社会边缘人群的宣泄与呐喊：穷人、盲人、不幸的人，尤其是黑人。Blues 在 R&B（节奏蓝调）出现之前，遗憾地被称为\"种族音乐\"。Blues 赢得人心，因为它发自内心。它真诚，但也直率。玫瑰皆有刺。

早期的 Jazz 和 Ragtime（拉格泰姆）局限于城市，因为它们需要酒吧和其他乐队成员才能蓬勃发展。它们通常还需要大型乐器，如低音提琴或钢琴。这些是更正式的音乐类型，以专业的方式表演，并需要观众。Blues 则完全不同。Blues 音乐人可以独自旅行，在任何地方演奏——无论是否与他人一起。他们是（并且常常仍然是）追寻幸福的独狼。然而，幸福并不总是那么容易降临。如果他们的音乐不被接受，他们就会去赌场碰运气，最终往往输得精光。许多 Blues 艺人到城市里碰运气，但这需要相当的谋生技巧才能在这里维持生计。由迁移至城市的 Blues 和 Jazz 艺术家们为支付房租而举办的\"租客派对\"（rent parties），帮助 Blues 在美国众多城市迅速传播开来。

Blues 音乐（也称 Blue Music）以吉他使用为特征，最初是独奏，后来有鼓和贝斯加入。歌曲采用 AAB 押韵格式，在和声序列之上，以 12 小节 4/4 拍节奏进行。Blues 最易识别的特征是和弦进行，采用应答轮唱方式。和弦还使用了\"蓝调音\"（blue notes）：即音高经过变化的音符。这赋予了 Blues 典型的忧郁、哀伤的音色，尽管对黑人音乐家来说，这种含义从来都不存在。

\"Blues\"一词在十九世纪就已经是英语的一部分，描述与慢性酗酒相关的震颤谵妄或抑郁状态。由于早期蓝调音乐人往往是孤独的男人，有着悲剧或犯罪历史，沉迷于烈酒和毒品（早期是可卡因），\"the blues\"（忧郁/蓝调）是他们日常生活中的一部分。在这些物质中，他们寻求治愈忧郁的良方。在他们的音乐中，他们寻求为自己的行为赎罪。人们常说 Blues 是 Gospel（福音音乐）的对立面：后者是上帝的音乐，而前者是魔鬼的音乐。

Blues 作为一个流派的规模，促成了一种结构上的两极分化：原声与电声 / 现代与经典 / 乡村与城市。这些配对本可以成为独立的超级流派，但它们只是没有明确边界的模糊群体。将旧的 78 转 Blues 唱片重新发行到新的 33 转黑胶唱片上，在六十年代重新激发了人们对早期原声 Blues 的强烈兴趣；原声 Folk Rock（民谣摇滚）的流行进一步扩大了这种兴趣。可惜的是，Blues 后来被其自身的\"孩子\"——Rock（摇滚乐）和 R&B——挤到了一边。

有时当代 Blues 被提及为一个子类别，但作为一个流派，它实际上并不存在。几乎没有资料能阐明它，也无法构建出一个连贯的定义。这是一个非常奇怪的现象，暗示着 Blues 本身几乎已经终结——它是超过二十年来唯一没有衍生出新流派的超级流派。在某种程度上，当代 Blues 可以被视为一个宽泛的总括性流派，涵盖所有无法归入其他流派的当代 Blues 音乐人。这种音乐通常相当平滑，略带流行风格，配有爵士化的电吉他，并带有浓厚的 Blues Rock（蓝调摇滚）影响。当代 Blues 体现了一种不安分的 Blues：一种不知道该往哪里去、也不知该归入何方的音乐。这进一步将 Blues 推向了最初使其流行的角色——Blues 是哀嚎的失败者的声音。", "genrelist": [ "COUNTRY BLUES / FOLK BLUES (& DELTA BLUES)
民谣蓝调 / 乡村蓝调 / 三角洲蓝调", "VAUDEVILLE / CLASSIC BLUES
杂耍蓝调 / 经典蓝调", "BOOGIE WOOGIE / PIANO BLUES
布吉伍吉 / 钢琴蓝调", "(ELECTRIC) TEXAS BLUES
电子德克萨斯蓝调", "JUMP BLUES
跳跃蓝调", "CHICAGO BLUES / CITY BLUES / URBAN BLUES
芝加哥蓝调 / 城市蓝调", "WEST COAST BLUES
西海岸蓝调", "LOUISIANA BLUES / SWAMP BLUES
路易斯安那蓝调 / 沼泽蓝调", "BRITISH BLUES & BLUES ROCK
英伦蓝调 & 蓝调摇滚", "TEXAS BLUESROCK & MODERN ELECTRIC BLUES
德州蓝调摇滚 & 现代电子蓝调", "SOUL BLUES (SOUTHERN SOUL II)
灵魂蓝调 / 南方灵魂 II", "HILL COUNTRY BLUES & TRANCE BLUES
山地蓝调 & 迷幻蓝调" ], "name_zh": "蓝调音乐" }, "jaz": { "name": "爵士音乐", "supergenre": true, "description": "Jazz 是一种由合奏团演奏的音乐，每位乐手都（极其）专业且精通自己的乐器。常见的 Jazz 乐器包括：小号、萨克斯管、单簧管、长号、低音提琴、钢琴、鼓以及爵士吉他。乐手之间的互动至关重要。与 Rock（摇滚）或 Blues（布鲁斯）不同，Jazz 乐手并不遵循完全预先确定的乐谱。他们必须\"感受\"其他人将要演奏的内容以及音乐将如何演进。是的，每首歌曲都有和弦与旋律构成可辨识的基础，但即兴创作与即时实验从不缺席。从某种意义上说，真正的 Jazz 音乐只能在现场演出中体验。每一场演出都应该是不同的。因此，Jazz 是世界各地（Jazz）酒吧中蓬勃发展的夜生活亚文化的一部分。即兴演奏的难度或许解释了为什么在所有超级流派中，Jazz 是最（甚至常常是唯一的）以器乐为主的、最少使用音效实验、更多在结构、模式与节奏上做文章的音乐类型——这让我们联想到许多古典音乐（Classical Music）。

Jazz 提供了一种有趣的结合：（下层阶级）非裔美国人民间音乐与（上层阶级）欧洲娱乐音乐及古典音乐的融合。正因如此，Jazz 从未像 Blues 那样被严格地按种族定义，并且无疑值得赞扬的是，它将这些亚文化联结在一起。Jazz 合奏团分为不同声部：节奏声部（贝斯、鼓和钢琴）在整首曲目中提供稳定的节拍，而旋律声部（铜管乐器）则齐奏副歌部分，随后各自进行独奏。

Jazz 一词的准确起源已在时间的长河中遗失。存在三种可能的解释，但可能没有一种符合真实情况。一种说法认为该词是黑人俚语，指代合奏团本身。另一种假说认为其根源在于一支名为\"Razz\"的早期 Jazz 乐队或一位名为\"Jazbo\"的早期音乐家。还有一种可能是，该词是\"Jasmine\"（茉莉花）的俚语——这是二十世纪初妓院中妓女最常用的香水（而 Ragtime 拉格泰姆和 Jazz 正是在这些地方发展起来的）。

Jazz 的力量在于其丰富的对比：即兴与预定、混乱与控制、轻柔明亮的声音与尖锐刺耳的音调之间的对立。Jazz 的独特之处还在于它以微妙的方式影响着众多流派。虽然没有直接衍生自 Jazz 的流派，但无数音乐风格都曾受到它的影响。其独特的概念与配器具有足够的多样性，可以迁移到最截然不同的流行音乐流派中。

在历史长河中，人们曾试图将 Jazz 划分为少数几个类别——这些类别本可以成为独立的超级流派。诸如\"传统或后爵士\"（Traditional or Post-Jazz）、\"第一、第二和第三潮流（爵士）\"（First, Second and Third Stream (Jazz)）等名称在某个时期曾是可行的选项，但在今天 Jazz 的风格体系中几乎不再具有任何相关性。一种可能的梳理方式是使用两个关键转折点——Bebop（比波普）和 Fusion（融合爵士）的诞生——将整个体系划分为三个时间段：经典爵士（Classic Jazz）、现代爵士（Modern Jazz）和后爵士（Post-Jazz，也称后融合或自由比波普）。

七十年代中期，Jazz 受到 R&B（节奏布鲁斯）的强烈压制和冲击。许多美国 Jazz 音乐家移居欧洲，在那里资金充足的 Jazz 音乐节和历史古城中的 Jazz 酒吧比美国更加繁荣（尤其是在斯堪的纳维亚半岛和东欧）。目前，美国的 Jazz 教育正在复兴，但公众的普遍兴趣仍未回归。后爵士因此已成为一种全球性的、高度分散的现象——这一流派曾经是一个国家的声音。", "genrelist": [ "NEW ORLEANS JAZZ & DIXIELAND JAZZ
新奥尔良爵士 & 迪克西兰爵士", "CHICAGO JAZZ
芝加哥爵士", "SWING / BIG BAND
摇摆乐 / 大乐队", "THIRD STREAM / PROGRESSIVE JAZZ & MODAL JAZZ
前卫爵士 / 第三流派 & 调式爵士", "NEW ORLEANS & DIXIELAND JAZZ REVIVALS
新奥尔良/迪克西兰爵士复兴", "BEBOP
比波普 (Bebop)", "COOL JAZZ & WEST COAST JAZZ
冷爵士 & 西海岸爵士", "HARD BOP
硬波普", "SOUL JAZZ / JAZZ FUNK
灵魂爵士 / 爵士放克", "FREE JAZZ / AVANT-GARDE (JAZZ)
自由爵士 / 先锋爵士", "FUSION / JAZZ ROCK
融合爵士 / 爵士摇滚", "SMOOTH JAZZ
柔顺爵士", "ACID JAZZ / JAZZDANCE
酸性爵士 / 爵士舞曲", "NU JAZZ / ELECTRO JAZZ
新爵士 / 电子爵士", "NORDIC JAZZ
北欧爵士", "ELECTRO SWING
电子摇摆" ], "name_zh": "爵士音乐" }, "jam": { "name": "牙买加音乐/ 雷鬼", "supergenre": true, "description": "遗憾的是，牙买加音乐常常被简单地归结为其最流行的出口产品——Reggae（雷鬼）。Reggae 的国际吸引力迅速超越了界定\"世界音乐\"（World Music）的门槛。与邻国（如古巴和海地）的音乐相比，这一点尤为明显。但还有更多牙买加音乐流派都变得比世界音乐更受欢迎。比其流行度更重要的是，牙买加音乐在 Rock（摇滚）、Rap（说唱）和 Dance（舞曲）之间建立起了一个关键的联结。几乎所有牙买加音乐流派都共享某些特征，这些特征不仅赋予了它们极其独特的声音，也解释了其对其他流派（尤其是英国流派）的巨大影响。由于牙买加在 1962 年之前一直是英国殖民地（这发生在 Ska 斯卡兴起之后），牙买加音乐向英国的输入一直非常活跃（例如臭名昭著的 Trojan 唱片公司运输的货物）。

牙买加没有任何广播电台，更不用说音乐电视了。公众享受不必自己掏钱购买的音乐的唯一途径是参加当地的\"音响系统\"（Sound Systems）：极其庞大的移动立体声音响系统，配备各种类型的扬声器和唱盘机。为了给这些音响系统提供唱片，到处都有录音室。因此，牙买加音乐注重的是录音而非演出。现场演出几乎不存在，黑胶唱片占据统治地位。难怪许多开创性的录音和扬声器技术都是在牙买加发明的。由于音响系统的存在，牙买加音乐是为户外播放而制作的（Dancehall 舞厅音乐除外）。这一点在鼓和贝斯部分（主要是扩音方面）的投入上尤为明显。毫不意外，牙买加音乐在国外音乐节上一直极受欢迎，这推动了牙买加音乐流行度的增长。

牙买加唱片制作与即兴音响系统的文化与音乐本身一样历史悠久，最早可以追溯到 Mento（门托音乐）。这意味着牙买加早在欧洲迪斯科和 EDM（电子舞曲）之前就引入了 DJ 的概念。\"Disk Jockey\"或唱片播放员被称为\"Selecta\"（选曲师）。DJ 与\"MC\"（Master of Ceremony，司仪）合作，MC 负责\"toasting\"（烤声）：牙买加俚语，意为添加现场人声。MC 还会提供\"peps\"：以牙买加方言（听起来可能像胡言乱语）快速唱出的即兴人声片段，用以调动人群的情绪；这一手法后来被 Drum 'n' Bass（鼓打贝斯）所吸纳。起初，选曲师和 MC 是同一个人，但这两项职能逐渐分离后，各自的职责也随之增加。音响系统本身也在不断扩展，演变成为不仅仅是大型设备。它们成为了由一群相关艺术家和技术人员组成的团体所珍视的遗产。这样的音响系统团体经常互相进行对决，比拼谁拥有最好的唱片、最出色的混音技巧或烤声才华。往往，这些对决会升级为暴力事件——想象一下两个敌对街区的街头派对互相开枪射击的场景。

牙买加音乐的另一个特点是强烈强调反拍（offbeat）。这赋予了音乐一种悠闲放松的声音，非常适合温暖的户外天气和吸食大麻。确实，大麻——在牙买加本土种植——也是大多数牙买加音乐听感的部分原因，尽管其对这一流派的影响不应被夸大。

除了定义牙买加音乐的所有技术要素之外，还有一些元素已在海外成为一种习惯，导致了多个国家中牙买加或雷鬼亚文化的形成。例如，Rastafarian（拉斯塔法里）色彩的纹饰（红-黄-绿）、类似的时尚风格，或作为发型的\"骇人长发绺\"（Dreadlocks）。Dreadlocks 最初是拉斯塔法里主义的精神象征，代表着灵性、反叛、个性和种族自豪感（因为其他种族不那么容易拥有 dreadlocks）。归根结底，牙买加音乐更关乎不妥协与原创性，而非其他。牙买加人只演奏他们喜欢的音乐。如果音乐不合心意，他们就改变它。如果它不再被创作，他们自己来创作。如果它不存在，他们就发明它。遗憾的是，自从 Ragga（拉加音乐）之后，该岛再也没有产生过真正原创的流派。然而，密切关注它所孕育的任何音乐，仍将是值得的。", "genrelist": [ "MENTO
曼托 (Mento)", "SKA
斯卡 (Ska)", "ROCKSTEADY
慢拍摇滚 (Rocksteady)", "(ROOTS) REGGAE
根源雷鬼", "DUB
回响 (Dub)", "LOVER'S ROCK & UK REGGAE
情人摇滚 & 英国雷鬼", "SKA REVIVAL (2-TONE), SKA PUNK & SKACORE
斯卡复兴 / 双色 / 斯卡朋克 & 斯卡核", "DANCEHALL
舞厅雷鬼", "RAGGA
拉加 (Ragga)", "REGGAE FUSION & BHANGRAMUFFIN
雷鬼融合 & 邦拉雷鬼", "REGGAETÓN & LATIN RAP
雷击顿 & 拉丁说唱" ], "name_zh": "牙买加音乐/ 雷鬼" }, "rap": { "name": "说唱/ 嘻哈音乐", "supergenre": true, "description": "Hip Hop（嘻哈）并非一种音乐流派，而是一个庞大的亚文化体系，涵盖的远不止音乐。Hip Hop 由所谓的\"四大元素\"（the Four Elements）构成：街舞（Breakdancing）、涂鸦（Graffiti）、唱盘主义（Turntablism，即混音与刮碟，DJ 的工作）和说唱（Rapping，即 MC 的韵律）；这是舞蹈、视觉艺术、口语艺术与技术的和谐统一。但 Hip Hop 还有其自身的习俗和独特的\"法则\"，丰富并定义了这一亚文化：首先是帮派视觉语言，以及对干净运动鞋的执着——这象征着对个人财产的尊重，因为说唱歌手曾经连第二双鞋都买不起。更不用说\"Bling Bling\"了：这些沉重而张扬的金项链和金戒指常常被误解为身份象征，但实际上代表着古老的非洲部落战士符号。因为 Hip Hop 首先是一种强有力的姿态。

所有 Rap（说唱）或 Hip Hop 音乐都由两个同等重要的部分组成：节拍（beat）和韵文（rhyme）。节拍曾经来自某些老派 Funk（放克）或 Disco（迪斯科）唱片中的\"breakdown\"（独奏段落）：即只有鼓手（和贝斯）演奏的部分。这些段落被用来制作连续的（循环）碎拍（breakbeat，详见 Breakbeat 碎拍音乐）。采样（Sampling）——一种从现有唱片中截取并粘贴小段声音的技术——被用来补充碎拍，增加旋律、贝斯和音效。尽管从法律角度看存在争议，但一些艺术家为创造完美节拍所投入的精力是超乎寻常的，而大多数采样从未得到应有的认可。自八十年代末以来，电子采样器能够存储和录制各种采样，催生了大量 Rap 作品。

\"rap\"一词是 Hip Hop 俚语，大致可译为\"流动\"（flow，指词语的流动）。因此，Rap 是由\"raps\"或\"flows\"（或韵文）组成的音乐。而\"hip hop\"这一短语的根源则非常模糊，可以追溯到黑人文化中一个很远的时期。Hip 本来意指时髦，但经常与 hop 放在一起使用——hop 大致指跳舞或派对。然而，确切的词源已在时间的长河中遗失。Afrika Bambaataa 和 Sugar Hill Gang 推广了这个在黑人社群中早已为人熟知的短语，用来描述一个集会、一场运动、或者一个既有趣又酷的地方。

Rap 的真正力量在于它能够传达复杂而深刻的信息——这得益于音乐中连续使用歌词的特点。由于每首歌的词汇量超过任何其他流派，Rap 可以以其他流派无法企及的方式取悦听众、表达抗议或建立联系。尤其是最后一点常常被遗忘：早期的 Rap 试图通过向白人听众传递信息来终结贫民窟的贫困、偏见和种族主义，从而将遥远的亚文化连接起来。

Rap 不仅从牙买加继承了音响系统（Sound Systems）、DJ 和唱盘机以及\"toasting\"（烤声）的概念，还继承了对大麻的喜爱。除了牙买加音乐，没有哪个超级流派像 Rap 一样与这种毒品紧密相连——尽管许多说唱歌手也强烈表达过反毒品的立场。大麻的听觉致幻效果与循环碎拍的重复性、以及意外氛围采样之间形成了良好的协同作用，而它对推理、联想和语言表达的心理效应则有助于高速说唱的进行。当然，也不应忘记 Hip Hop 俚语极其丰富的词汇量——这部分是大麻使用的后果。

Rap 起源于贫民窟，并具有强烈的区域性。由于 Rap 比其他流派更依赖语言，其各种子流派在地理上也是有边界的。然而，在 Musicmap 中，这些子流派只有在具有独特的技术和意识形态属性（而不仅仅是语言差异）时才会被收录。这就是为什么法语 Rap、俄语 Rap 和荷兰语 Hip Hop（Nederhop）没有被单独列为流派的原因——尽管它们都是 Hip Hop 中活跃而有趣的领域。自零零年代以来，Rap 经历了一场身份危机。曾经那种富有力量、创新性地在采样节拍上进行押韵的概念已经变得司空见惯，其吸引力也随之消退。随着更多的折衷主义、Auto-Tune（自动调音）、文件共享、音频流媒体的兴起，以及\"彩铃说唱\"（Ring Tone Rap，为智能手机制作的廉价 Rap）的出现，Rap 似乎已将其战士般的心态交换成了某种具体可见的东西。不过，仍然有 Rap/Hip-Hop 艺术家坚守着 Hip Hop 的根源与传统。", "genrelist": [ "OLD SKOOL RAP PIONEERS
老派说唱先驱", "ELECTRO
电子放克", "GOLDEN AGE RAP (& HARDCORE RAP)
黄金时代说唱 & 硬核说唱", "MIAMI BASS & BOUNCE
迈阿密贝斯 & 弹跳舞", "(WEST COAST) GANGSTA RAP
西海岸匪帮说唱", "JAZZ RAP / NATIVE TONGUE
爵士说唱 / 母语组合", "PROGRESSIVE RAP / NU SKOOL RAP
前卫说唱 / 新派说唱", "REGGAETÓN & LATIN RAP
雷击顿 & 拉丁说唱", "(DIRTY) SOUTH RAP, CRUNK & SNAP
南方说唱 / 旷克 & 弹指", "EAST COAST GANGSTA RAP
东海岸匪帮说唱", "TRAP & DRILL
陷阱说唱 & 钻头说唱", "URBAN BREAKS (NU R&B II)
都市碎拍 / 新R&B II", "GLITCH HOP & WONKY
故障嘻哈 & 扭曲" ], "name_zh": "说唱/ 嘻哈音乐" }, "brb": { "name": "碎拍音乐", "supergenre": true, "description": "尽管 Breakbeat（碎拍音乐）是一种由其技术性节奏要素定义的流派（详见下文），但其背后存在着种族的层面。正如 Rock 'n' Roll（摇滚乐）是黑人 Rhythm 'n' Blues（节奏布鲁斯）的白色版本一样，Breakbeat 也是黑人 Rap 音乐的\"高加索人\"版本。虽然这种划分不像 R&R 与 R&B 之间的对立那样强烈（许多黑人艺术家也参与制作 Breakbeat），但值得注意的是，Rap 艺术家绝大多数是黑人，而 Breakbeat 艺术家绝大多数是白人——考虑到这两个超级流派之间密切相关的关系，这一现象十分引人注目。这也催生了对真正的\"黑人舞曲流派\"的需求，从而导致了 Jungle（丛林音乐）的产生。Breakbeat 可以说是最难界定的超级流派——它由充满实验精神的折衷主义艺术家所推动。

大多数 Breakbeat 被视为 Hip Hop 文化的一部分，因为（像 Rap 一样）它也基于对 Funk 唱片的采样来制作碎拍（breakbeats），并且主要活跃于同一亚文化中，使用相应的技术（如唱盘主义）或元素（如涂鸦或街舞）。

\"breakbeat\"一词源于早期 Funk 或 Disco 唱片中所有乐器停止演奏（breaking）、只有鼓手和打击乐器部分保留的段落，称为\"breakdown\"（独奏段落）。这样的 breakdown 段落可以被 Rap 和 Breakbeat 艺术家用来制作自己的鼓采样，而无需使用真实鼓手——这是在价格实惠的鼓机出现之前。一些采样比其他采样更频繁地被用作碎拍的构建模块，并获得了自己的名称和传奇地位。例如，\"Amen Break\"（阿门碎拍）是来自 Winston 乐队的 Funk 单曲《Amen》（1969 年）中著名的采样。James Brown 在《Funky Drummer》中最鲜明的独奏段落成为了\"Funky Drummer Break\"的基础。Honey Drippers 的《Impeach the President》、Melvin Bliss 的《Synthetic Substitution》以及 Incredible Bongo Band 的《Apache》——这些都是相当不知名的 Funk 唱片，但由于被无数次反复采样而成为有史以来播放次数最多的唱片。

Rap 和 Breakbeat 艺术家尤其喜欢 Funk 和 Disco 唱片的 breakdown 段落，而不是 Rock 或 Blues 的，因为这些放克鼓手引入了\"第三拍\"（the third beat）：将底鼓放置在与常规 4/4 节奏不同的节拍上。在不同小节中，底鼓和军鼓落在不同节拍上，而踩镲则落在反拍上，从而创造出不对称的节奏模式。Breakbeat 与器乐 Rap 的区别在于速度稍快（110-120bpm），以及更大量地使用采样、音效和声音处理——所有这些都在正确的时机放置在不同的层次中，以构建一个精密的节奏网络。这意味着 Breakbeat 曲目通常过于丰富和多层次，以至于不适合在上面进行说唱。注意：也存在更硬朗、更偏向舞曲的 Breakbeat 变体，速度在 120-140bpm 之间，与 Rap 很容易区分。

Breakbeat 与 Drum 'n' Bass（鼓打贝斯）之间的中间地带催生了一整类音乐流派，它们可以被视为一个独立的超级流派：UK Garage（英式车库音乐，包含 UK Bass 英式低音音乐）。UK Garage 最初是为了通过融合其他 EDM（电子舞曲）——如 Breakbeat 和 Garage House（车库浩室）——来更新 Drum 'n' Bass 的实验，但很快发展成为一个广泛而独立的亚文化，其中 Dubstep（回响贝斯）是其最著名的代表。UK Garage 尝试不同的、意想不到的节奏（如两步节奏 2-step），创造出高度切分的碎拍音乐，融合了各种影响来提供高音部分，同时深受 Drum 'n' Bass 影响以提供超深沉的低音。最新的 UK Bass 形式在强大的地下互联网文化中蓬勃发展。那些艺术家名字难以发音、有时甚至需要特殊 ALT 或 ASCII 键才能输入的乐队——那个让 Drum 'n' Bass 在九十年代中期声名鹊起的海盗电台地下网络——似乎以新的形式复活了。", "genrelist": [ "ELECTRO
电子放克", "FREESTYLE & BREAKDANCE
自由式 & 霹雳舞音乐", "FLORIDA BREAKS (& FUNKY BREAKS)
佛罗里达碎拍 & 放克碎拍", "BREAKBEAT HARDCORE (RAVE II)
碎拍硬核 & 钢琴浩室", "TRIP HOP
神游舞曲 (Trip Hop)", "CHEMICAL BREAKS & BIG BEAT
化学碎拍 & 大节拍", "AMBIENT BREAKS & ILLBIENT
氛围碎拍 & 病态氛围", "UK GARAGE (2-STEP & SPEED GARAGE)
英伦车库 / 两步 & 速度车库", "NU SKOOL BREAKS
新派碎拍", "BROKEN BEATS
破碎节拍", "BREAKBEAT GARAGE & GRIME
碎拍车库 & 灰土 (Grime)", "BASSLINE & UK FUNKY
低音线 & 英伦放克", "GLITCH HOP & WONKY
故障嘻哈 & 扭曲", "FUTURE BASS / FUTURE GARAGE
未来车库 & 未来贝斯", "EDM TRAP / TRAPSTEP
EDM陷阱 / 陷阱回响" ], "name_zh": "碎拍音乐" }, "dnb": { "name": "鼓打贝斯/ 丛林", "supergenre": true, "description": "Drum 'n' Bass（鼓打贝斯）可以说是所有超级流派中最深沉的。它是一种由碎拍（breakbeats）和贝斯线（basslines）构成的滚滚雷鸣般的声音，如同丛林中大象奔腾时令人不安的远方隆隆声。（现代）Drum 'n' Bass 过于复杂，不使用高级音乐软件根本无法创作——这也解释了为什么它是最年轻的超级流派之一。在早期，Drum 'n' Bass 与 Jungle（丛林音乐）之间存在差异（参见 Old Skool Drum 'n' Bass 老派鼓打贝斯）。尽管有一小部分粉丝拒绝忽视这种差异，但随着时间的推移，这两个术语已经可以互换使用。Jungle 是英国黑人青年的声音；因此它与黑人音乐（Rap 说唱）和牙买加音乐（Ragga 拉加和 Dub 杜比）之间的联系也就不足为奇了。

名词 Drum 'n' Bass 暗示着两种风格的结合：一部分是鼓，一部分是贝斯。历史表明这几乎是对事实的准确描述：早期的 Drum 'n' Bass 源于手动混音两张来自不同流派、且均被高度加速的兼容唱片。一张唱片通常提供采样来创建高度加速的碎拍——例如 Amen Break（阿门碎拍）、Dubplate（杜比盘）和 Breakbeat Hardcore（硬核碎拍）唱片。另一张则提供次声波贝斯线——例如 Industrial/Brutal Techno（工业/粗暴铁克诺）或 Rave（锐舞音乐）。大多数 Drum 'n' Bass 歌曲使用 Amen Break 或 Funky Drummer Break 作为其 4/4 碎拍的模板。军鼓放置在小节的第二拍和第四拍。Drum 'n' Bass 的速度非常快，范围在 160-190 bpm 之间。结合碎拍的使用，如此高速度使 D'n'B 具有瞬间可辨识度。

Drum 'n' Bass 使用许多特殊技术来营造一种威胁而未来感的声音。时间拉伸（Time-stretching，加速曲目的某些部分而不改变音高）、半速贝斯线（half speed basslines，降低速度和音高以营造深度感）、滚动贝斯线（rolling bass lines，消除贝斯音符之间的静默空间），以及\"Drop\"（骤降）：在 breakdown 和长时间的渐强铺垫之后，推出歌曲的主要部分，但层次更丰富、更具冲击力。Breakbeat 与 Drum 'n' Bass 的关键区别在于：Breakbeat 试图听起来\"自然\"和\"有机\"，模仿真实的鼓手。而 Drum 'n' Bass 则摒弃一切写实主义，试图创造相反的效果：合成、未来感与技术化。

尽管\"Drum 'n' Bass\"一词相对不言自明，而\"Jungle\"这个名称则需要进一步解释。据称，Jungle 源于牙买加如同丛林般的 Tivoli Gardens（蒂沃利花园），在 Rebel MC 的一首早期 Jungle 曲目中出现了引用该地的采样。然而，记者和发烧友之间流传着无数种其他解释，使得真相更加模糊，同时强化了 Jungle 名称的象征价值。

Jungle 始终拥有两面性，这构成了 Jungle 与 Drum 'n' Bass 早期差异的一部分。在伟大的 Rave 时代之后，整个舞曲音乐分裂为两个对立的宇宙，这在 Drum 'n' Bass 内部尤为明显。一方面是智慧/精致/氛围/进步的音乐取向（Old Skool D'n'B 老派鼓打贝斯、Jazzstep 爵士步、Liquid 液态、Dubstep 回响贝斯、UKG 英式车库、Broken Beats 碎节拍）；而另一方面是硬核/锐舞/外向/线性的取向（Old Skool (Ragga) Jungle 老派拉加丛林、Breakbeat Hardcore 硬核碎拍、Darkcore 暗核、Hardstep 硬步、Techstep 科技步、Jump Up 跃升、Post-Dubstep 后回响贝斯）。但这两极之间显然相互影响，有时还会交叉融合。正是这种复杂节奏与深沉、威胁性低音之间的黄金组合，使 Drum 'n' Bass 如此受欢迎。Jungle 的声音与其交织的战斗性抗议感（类似 Reggae 雷鬼或 Rap）相契合。它结合了\"危险\"Rave 的吸引力与实验性\"智慧\"舞曲的精致感：Jungle 是暗影中的伏都教祭司——一位邪恶的幕后操纵者。

在当今时代，要区分 Hardstep、Techstep、Darkstep 和 Neurofunk（神经放克）已经变得极其困难甚至毫无意义。这些流派在 Carta（音乐图谱）上被分别列出，以展示 Drum 'n' Bass 的规模与演变，但如今它们在很大程度上已合为一体，统称为 Darkside（暗面）。Darkside 是——除了 Dubstep 之外——当代 Drum 'n' Bass 三大流派之一，与 Liquid（液态）和 (Nu) Jump Up（新跃升）并列。", "genrelist": [ "OLD SKOOL JUNGLE & OLD SKOOL DRUM 'N' BASS
老派丛林 & 老派鼓打贝斯", "DARKCORE & DARKSTEP
暗核 & 暗步", "HARDSTEP & TECHSTEP
硬步 & 科技步", "JUMP UP
跳跃 (Jump Up)", "INTELLIGENT / AMBIENT DRUM 'N' BASS & JAZZSTEP
知性/氛围鼓打贝斯 & 爵士步", "UK GARAGE (2-STEP & SPEED GARAGE)
英伦车库 / 两步 & 速度车库", "DIGITAL HARDCORE & BREAKCORE
数字硬核 & 碎核", "NEUROFUNK
神经放克", "LIQUID FUNK
流质放克", "BREAKBEAT GARAGE & GRIME
碎拍车库 & 灰土 (Grime)", "DUBSTEP
回响贝斯 (Dubstep)", "BASSLINE & UK FUNKY
低音线 & 英伦放克", "POST-DUBSTEP
后回响贝斯", "FUTURE BASS / FUTURE GARAGE
未来车库 & 未来贝斯" ], "name_zh": "鼓打贝斯/ 丛林" }, "hct": { "name": "硬核科技舞曲", "supergenre": true, "description": "最初，硬核（Hardcore）是科技舞曲（Techno）的一个子流派，但深受（迷幻）浩室（Acid House）的影响（因此是一种混合体）。与其他电子舞曲（EDM, Electronic Dance Music）超级流派相比，硬核没有明确的起点，而是逐步演化的结果。其特点是比常规 Techno 更硬、更暗、更快，以至于 Funk/Electro 贝斯线已无（字面上）容身之地。这一演变得益于摇头丸（XTC）的大幅兴起（以及程度较轻的苯丙胺类兴奋剂），根植于早期的迷幻浩室/Madchester 俱乐部文化。尽管 Hardcore 的形式远比大多数人想象得更加多样，但其共同因素在整个历史中始终一致：纯粹的狂喜；一种最好与庞大的人群分享、以使其更加强烈的冲动。在（常规）Techno 对公式化保持内在克制、House 试图取悦尽可能多的人之时，Hardcore 则毫不妥协。它可以是荒诞的、俗气的、雷鸣般的、无情的、荒谬的、夸张的，或兼而有之，将自己定位在一个更为狭窄的听众群体。然而，这些听众却因此感激它提供了其他舞曲流派所回避的特质，从而形成了一个忠诚的粉丝群：更小但更硬的“核心”。

硬核一个非常显著的特点是它（通常）比其他舞曲快得多，从 150-160 BPM 起步，有时甚至达到 1000 BPM（此时会变成一个单一音调）。如果它并不特别快（如 New Beat 或 Rave 的第一波），那么它必定比其他舞曲更硬、更具威胁性，偏好声音失真和极深的低音。Hardcore 极少使用旋律，而是依赖合成器音刺（synth stabs）的编排来营造旋律化的高音声部。类似于朋克（Punk）的力量和弦，synth stabs 产生一种“破碎”但更有力度和能量的感觉。独特之处在于，Hardcore 既可以是稳定的、超快四拍地板（four-to-the-floor）节拍（包含最知名的流派），也可以是碎拍（breakbeat）——以与 Jungle（丛林舞曲）和 Breakbeat（碎拍）更为晦涩的融合形式出现。

XTC 对音乐聆听的致幻效应可能是硬核科技舞曲（Hardcore Techno）整个发展的主要推动力。在高剂量下，该药物将音乐推向背景，收紧感官，从而引发对更强烈、更狂喜的音乐的渴望。随着 XTC 平均消费量不断增长（尤其在荷兰），Hardcore 的声音也随之改变。直到速度和沉重感达到极限，Hardcore 才慢慢放缓。尽管 XTC 和苯丙胺使用量很大，但也有大量不吸毒的粉丝，有些人甚至是直刃族（straight-edge，反对药物滥用者）。对于这些人来说，音乐怎么激烈都不为过，而 Hardcore 提供了其他流派无法提供的东西。

硬核科技舞曲可以划分为两大音乐组群：锐舞大系（Rave XL）和加巴尔大系（Gabber XL）。第一组群，即锐舞流派集合（New Beat、纯正 Hardcore Techno、Darkcore、Breakbeat Hardcore、Freetekno、Acidcore 等），是比其上位超级流派 Hardcore 更为人所熟知的现象。在 Rave 的鼎盛时期（1990-1992 年），其过度行为获得了大量媒体报道。Rave 开启了 Hardcore 大规模派对的文化（即“锐舞”），充满了狂野、奔放的人群和各种荒诞的狂欢奇观。黄色笑脸、糖果色、泡泡液、荧光棒、口哨、夜间墨镜和超大号服装：在 Rave 的世界里，一切皆可为。

第二音乐组群，即 Gabber 及相关硬舞流派（早期 Gabber、Speedcore、Terrorcore、Nu Style、Hardstyle、Jumpstyle……），采取了更为严肃但也更为极端的方式。它专注于音乐的强度，并将其文化对外界屏蔽。流动的游击式锐舞被规模更小、场地固定的俱乐部派对所取代，但最终大型舞蹈活动（mega dance events）又回归了狂喜 Rave 的精神。Gabber XL（广义）通过转变为一种受 Hard Dance 影响、更易接受的形式而存活下来。Hardcore 与其他 EDM 流派之间存在一个庞大而有趣的跨界风格空白地带。Hardstyle、Jumpstyle 和 Tekstyle 如今掌握着 Hardcore 通往未来的钥匙。但在这个兼收并蓄的时代，被约束的超级流派似乎极不可能出现。考虑到 Rave 和 Gabber 已经抵达了舞曲星系的极限并播下了 Hardcore 的种子，这倒是一件好事。", "genrelist": [ "NEW BEAT
新节拍", "HARDCORE TECHNO / RAVE
硬核科技舞曲 / 锐舞", "BREAKBEAT HARDCORE & PIANO HOUSE (RAVE II)
碎拍硬核 & 钢琴浩室", "DARKCORE & DARKSTEP
暗核 & 暗步", "(EARLY) GABBER
早期鹿特丹硬核 (Gabber)", "HAPPY HARDCORE & BOUNCY TECHNO
快乐硬核 & 弹跳科技", "SPEEDCORE, FRENCHCORE & TERRORCORE
速度核 / 法国核 & 恐怖核", "DIGITAL HARDCORE & BREAKCORE
数字硬核 & 碎核", "UK HARDCORE & FREEFORM / TRANCECORE & ACIDCORE
英伦硬核 & 自由式 / 迷幻核 & 酸性核", "HARDSTYLE (& JUMPSTYLE)
硬派舞曲 & 跳跃舞曲", "NU STYLE (GABBER) / MAINSTREAM HARDCORE
新派鹿特丹 / 主流硬核" ], "name_zh": "硬核科技舞曲" }, "tec": { "name": "科技舞曲", "supergenre": true, "description": "科技舞曲有点像一幅抽象画：它是基于放克（Funk）律动的一种印象主义诠释，灵感来自未来主义愿景、虚无主义视角、电子电路或内心思维的网络。它是所有超级流派中最内省的——安静的思想者——喜欢摆弄技术直到凌晨。比任何其他流派都更重要的是，Techno 是所有电子舞曲之父。它与 House 一起繁衍出了无数流派。最初，Techno 在社会学层面比现在更为受限。在底特律（Detroit），Techno 是为下层市民而生的，而 Garage House（车库浩室）则更面向上层阶级。House 代表时尚/设计/潮流，而 Techno 则是工业/汗水/Funky。尽管这一鸿沟在 EDM 登陆欧洲后迅速消失，但勤劳蓝领工人的精神仍然深深共鸣于 Techno 的灵魂之中。

如果说 House 是“迪斯科的复仇”，那么 Techno 毫无疑问是“Funk 的复仇”。Techno 的贝斯线基于 Funk 律动，但完全由电子方式制作。Techno 使用介于自然与人工之间、模拟与数字之间的声音；这些声音可能是真实的，也可能并非如此。Techno 的 Funky 律动通过引入重复并强化每个 4/4 拍子而变得适合跳舞。贝斯线和节拍紧密结合，通常比 House 更深、更硬。每一首 Techno 曲目都像是通过贝斯线与鼓点的精心组合来寻找完美节奏的探索。Techno 通常也比 House 稍快，平均 BPM 在 130 到 140 之间。Electro（电音放克）——Techno 的直接前身——通过技术性的电子哔哔声和音效施加了强烈影响，这些声音伴随节奏但既不成为旋律（如 Trance）也不成为氛围（如 House）。Techno 的一个非常重要方面是，它是唯一一个（几乎）始终纯器乐的舞曲超级流派。House、Trance、Hardcore 和其他流派经常使用人声采样。Techno 几乎从不这样做；它象征着电子节奏的解放。节奏是明星，是主唱，不需要人声。

最初的“贝尔维尔三人组”（Belleville Three）——Techno 的创造者——对科幻和技术有着强烈的迷恋。雷德利·斯科特（Ridley Scott）《银翼杀手》（Blade Runner）中的未来都市梦想与他们破败家乡——那座失去动力的城市底特律——的现状形成了鲜明对比。在一部科幻小说——阿尔文·斯纳（Alvin Snurr）的《科技之城》（Techno City）——中，他们找到了一个商标名，用以将他们基于 Funk 的音乐与全新的基于 Disco 的芝加哥浩室（Chicago House）区分开来。Techno House 是这个新生流派的名字。当时一个看似无足轻重却又至关重要的决定——将首批完整唱片之一简单命名为“Techno”——将早期 EDM 正确地分成了两大学派而非一个，其后果极其深远。

在九十年代，Techno 一词常被用作所有舞曲音乐的总称。当然，我们建议避免这种令人困惑且不准确的术语用法，但这确实说明了当时该流派指数级上升的受欢迎程度。真正的 Techno 的子流派数量相当有限；其纯粹主义和极简主义的方法为风格多样化留出的空间很小。Techno 已经有相当一段时间没有产生新的风格了。然而，最近 Techno 在全球一些意想不到的地区变得流行起来，在那里它与区域性世界音乐融合。在墨西哥，Techno 与 Norteña（北部民歌）混合，成为“Nortec”（或 Tecno Rifa）；在巴西，则出现了一种称为“Tecnobrega”的新流派。尽管 Techno 自诞生以来几乎未曾自我革新，但这必须被视为 Techno 或许是所有超级流派中最经久不衰的证明。部分原因是人声和歌手个性赋予了音乐一个时间框架、一种凡俗的维度。早期的反对者声称 Techno 这股风潮很快就会过时，尤其是因为它与技术密切相关。然而三十年后，它仍然是 DJ 的终极保险，无论面对什么样的观众。", "genrelist": [ "DETROIT TECHNO
底特律科技舞曲", "NEW BEAT
新节拍", "HARDCORE TECHNO / RAVE
硬核科技舞曲 / 锐舞", "(FREE)TEK(K)NO / HARDTEK
自由科技舞曲 / 硬科技", "AMBIENT TECHNO & IDM (INTELLIGENT DANCE MUSIC)
氛围科技舞曲 & IDM", "INDUSTRIAL TECHNO & SCHRANZ
工业科技舞曲 & 施兰茨", "MINIMAL TECHNO
极简科技舞曲", "TECH HOUSE
科技浩室", "TECH TRANCE
科技迷幻", "HARDTECHNO (SCHRANZ II)
硬科技舞曲 / 施兰茨 II", "GHETTO HOUSE, GHETTOTECH & JUKE
贫民窟浩室 / 贫民窟科技 & 朱克" ], "name_zh": "科技舞曲" }, "hou": { "name": "浩室音乐", "supergenre": true, "description": "浩室（House），迪斯科（Disco）之女，是那种带有稳定节拍的、刻板印象中的“感觉良好”舞曲音乐。上一句中最关键的词是“感觉良好”。House 通过提供律动和灵魂，将自己与其他舞曲流派区别开来。House 是数字化的节奏蓝调（Rhythm 'n' Blues），带有玩乐、温暖和关爱的感觉。如果失去了对积极氛围的专注，它就会变成另一种超级流派。

House（以及后来的 Techno、Hardcore 和 Trance）的革命性兴起得到了协同效应的推动。第一：八十年代初出现的新型鼓机和电子音乐乐器，使得音乐制作对个人来说变得负担得起，甚至无需教育也能完成。其次，XTC 作为完美派对毒品的发现，最终被大众接受，这得益于更有力的节拍和逃避主义的通宵俱乐部（迪斯科）文化。第三，艾滋病的惊人传播，在八十年代初重创了同性恋群体，并掀起了一股恐惧浪潮。正因如此，House 音乐成为性爱的替代品，因为随意的性行为被认为太过危险。实际上，同性恋群体更倾向于在俱乐部停留更长时间（而不是与伴侣回家），沉浸在充满性感的舞蹈、出汗、调情、触碰中，在 XTC（及其他药物）影响下迷失于音乐中。所有这些导致了更长的派对、更长的 DJ 时段、更硬朗的节拍、更加狂喜的声音，以及对愉悦的音乐替代品的追寻：这就是 House 音乐。尽管 House 在历史上呈现过多种形式（无论是转向流行、Electro 还是 Disco），享乐与愉悦的普世语言（完全不带政治或个人信息）始终存在。这种普世主义和快乐的逃避主义解释了为什么 House 至今仍是 EDM 中最受欢迎的超级流派，总是获得主舞台或主厅，优于其他舞曲音乐。

House 的界定特征是一个稳定的直拍 4/4 鼓点节拍，范围约在 120 到 130 BPM 之间。House 在小节四分之一拍上有一个突出的底鼓，即所谓的“四拍地板”节奏。在所有舞曲流派中，House 的平均速度（123-125 BPM）偏差最小，这使得混合不同唱片变得容易。温暖、有灵魂的贝斯律动或 R&B 影响是其他刻板化的 House 构成要素。

House 这个名字源自该流派起源地——芝加哥的一家俱乐部：The Warehouse（仓库）。这个音乐现象很快成为流行语：“你有他们在‘House’里放的音乐吗？”然而，如果这个名字没有象征更多意义——团结——爱——接纳的话，它是否能如此深入人心是有疑问的。正如查克·罗伯茨（Chuck Roberts）在节奏控制（Rhythm Control）乐队的《My House》——电子音乐史上最重要的人声采样之一——中呼喊的那样：“……一旦你进入我的 House，它就变成了我们的 House，我们的浩室音乐。你看：没有人能拥有 House，因为 House 音乐是一种普世的语言，人人都会说，人人都听得懂。”House 成为宽容的代名词：黑人、同性恋者、波西米亚人和边缘人群的城市配乐。

House 可以分为三大波，每波包含多个子流派。第一波包含开创性的美国流派（Chicago、Garage 和 Acid House），可统称为经典浩室（Classic House）。第二波是 House 登陆欧洲大陆后涌现的多样化风格集合，如同 House 的一次大流散（Prog、Deep、Funky、French 和 Euro-House）。第三波也是最后一波具有与之前流派截然不同的声音：电子浩室（Electro House）及其衍生流派（Electro House、Complextro、Moombahton、Big Room）。最近，Electro House 已走到尽头，而对 Classic House（如 Nu-Disco）的兴趣正在上升。正如流行音乐世界中一贯的规律：历史会重演。随着外围流派 Trapstep 和 UK Bass 的强劲流行，House 的复仇将会是什么，仍有待观察。", "genrelist": [ "CHICAGO HOUSE & GARAGE HOUSE
芝加哥浩室 & 车库浩室", "ACID HOUSE
酸性浩室", "AMBIENT HOUSE / CHILL-OUT
氛围浩室 / 放松音乐", "HIP HOUSE & EURODANCE
嘻哈浩室 & 欧洲舞曲", "DEEP HOUSE
深度浩室", "IBIZA HOUSE & DREAM HOUSE
伊比萨浩室/迷幻 & 梦境浩室/迷幻", "PROGRESSIVE HOUSE
前卫浩室", "TECH HOUSE
科技浩室", "NRG, HARD NRG & (UK) HARD HOUSE
能量浩室 / 硬能量 & 英伦硬浩室", "FRENCH HOUSE & FUNKY HOUSE
法式浩室 & 放克浩室", "MICROHOUSE / MINIMAL HOUSE
微型浩室 / 极简浩室", "GHETTO HOUSE, GHETTOTECH & JUKE
贫民窟浩室 / 贫民窟科技 & 朱克", "ELECTRO HOUSE & DUTCH HOUSE
电子浩室 & 荷兰浩室", "FIDGET HOUSE & COMPLEXTRO
烦躁浩室 & 复杂电子", "NU DISCO & FUNKTRONICA
新迪斯科 & 放克电子", "MOOMBAHTON
蒙巴顿 (Moombahton)" ], "name_zh": "浩室音乐" }, "tra": { "name": "迷幻舞曲", "supergenre": true, "description": "迷幻舞曲（Trance）比任何其他音乐流派都更注重旋律。其名称揭示了它的目的：Trance 旨在催眠和迷醉听众，提供逃避主义的体验。因此，大多数 Trance 歌曲比其他 EDM 歌曲长得多，并且经常被混音和重混（remix）。较长的曲目长度与缓拍/氛围（Downtempo）相似，但 Trance 速度更快，并且带有突出的四拍地板节拍。Trance 的目的在于在舞池中迷醉听众，而不是在家里。它应该带你踏上一次心灵与身体的双重旅程。然而，无论旋律多么重要，它不应干扰 Trance 的节奏、贝斯和旋律的和谐三位一体。

Trance 的兴起与锐舞（Rave）的衰落同时发生，这并非巧合。Trance 成为疲惫的锐舞者（raver）的避难所，他们追求宁静而非喧嚣的过度刺激。不经意间，Trance 与药物的联系不如 House 或 Hardcore Techno 密切（尽管某些子流派懂得如何恢复这种平衡）。Trance 用一个精神性和深层体验的世界来补偿一个享乐主义的世界——至少它经常这样宣称。无论 Trance 自我沉溺（它有时被指责如此）的观念是否属实，它对不同 EDM 群体的吸引力确实很强。尤其是在它起源的国家——这些国家形成了一个地理上的“Trance 三角”：德国、荷兰和比利时。

Trance 的识别特征是突出的合成器旋律，它们始终构成其核心。所有类型的波形、调制和效果在 Trance 的世界中都被发掘。合成器旋律通常会构建出戏剧性的高潮：渐强。渐强（crescendo）通过琶音（arpeggio）、升调或增加层次（乐器、旋律）来增强。在渐强之后，旋律会回落，可能有或没有断奏段落（breakdown），但旋律元素或合成器音刺的完全缺失相当罕见，因为那样可能会失去迷醉效果。就像现代鼓打贝斯（Drum 'n' Bass）一样，Trance 需要计算机来制作。它偏爱数字技术而非模拟技术。这就是为什么 Trance 是最年轻的超级流派之一，并且通常以水晶般清晰的声音制作。Trance 不应停止；其快节奏（介于 135 和 150 BPM 之间）甚至超过了 House 和 Techno，无缝混音试图实现一次长时间的 Trance 体验。

Trance 曾一度被视为只是 House 或 Techno（其起源）的一部分。但随着时间的推移，它发展成为一个羽翼丰满的超级流派，尽管对其层级地位仍存在大量无知。这可以通过以下事实来解释：大多数 Trance DJ 在其职业生涯中会在不同风格之间切换，而且 Trance 社群对流派分类不太在意。Trance 作为一个流派似乎比其他流派更为统一，这使其容易被视为比实际更小的风格。然而，不应低估 Trance 的影响力和冲击。许多被误认为是 House 或 Techno 的著名舞曲歌曲，实际上都是 Trance。富有的、成功的巨星 DJ 在 Trance 出现之前并不存在，而 EDM 如果没有 Trance，也无法在九十年代末保持其势头。在新千禧年之初，Trance 经历了巨大的主流成功，这将其粉丝群分化为商业化和另类两个阵营。近来，这种二分法已不再重要，因为 Trance 本身正在努力保持其相关性。未来似乎不确定。但如果你只想用音乐旅行而不需身体移动，Trance 仍然是你最好的选择。", "genrelist": [ "CLASSIC TRANCE & ACID TRANCE
经典迷幻舞曲 & 酸性迷幻", "IBIZA TRANCE & DREAM TRANCE
伊比萨浩室/迷幻 & 梦境浩室/迷幻", "GOA TRANCE & PSYTRANCE
果阿迷幻 & 迷幻舞曲", "NRG, HARD NRG & (UK) HARD HOUSE
能量浩室 / 硬能量 & 英伦硬浩室", "PROGRESSIVE TRANCE
前卫迷幻", "EUROTRANCE & VOCAL TRANCE
欧洲迷幻 & 人声迷幻", "TECH TRANCE
科技迷幻", "HARDTRANCE
硬派迷幻", "UK HARDCORE & FREEFORM / TRANCECORE & ACIDCORE
英伦硬核 & 自由式 / 迷幻核 & 酸性核", "UPLIFTING TRANCE / EPIC TRANCE
振奋迷幻 / 史诗迷幻", "NEO-TRANCE
新迷幻" ], "name_zh": "迷幻舞曲" }, "dtp": { "name": "缓拍/ 氛围", "supergenre": true, "description": "缓拍（Downtempo）是一个以电子音乐为主的集合，其平均速度低于通常水平（低于 110 BPM），因此得名。由于如此低的节奏，这类音乐通常不用于跳舞，也很少现场表演。Downtempo 是一种在自然（读作：非音乐）环境中聆听的音乐。Downtempo 音乐经常用于电影配乐、家庭聆听专辑、公共场所……或者大学。早期的 Downtempo 由使用首批电子音乐乐器的学术实验演变而来。这甚至可以追溯到 1920 年代，当时第一个电子声音问世，这得益于列夫·特雷门（Léon Theremin）和他的同名乐器（Theremin）。对这些研究者来说，Downtempo 并不特别慢。直到许多十年后，更快的电子舞曲流派出现之后，“缓拍”这个术语才被应用到这种音乐上。有时 Downtempo 被简称为“电子音乐（Electronic）”，以区别于（电子）舞曲（EDM）。

Downtempo 比大多数超级流派更注重声音和声音实验。整个 Downtempo 的历史就是探索和发现新技术与新声音，并温和地扩展其发现的历史。Downtempo 不在原声（acoustic）和电子之间做选择，它囊括一切可以用来产生完美声音的手段。

然而，Downtempo 最重要的方面是它对音乐本身的一种根本不同的方法。大多数歌曲不使用（序列化的）歌曲结构，而是非序列化的：它们通过重复而非结构化模式缓慢而渐进地演化。在这种看似无尽的重复中，心灵被带入一段超然的旅程。没有模式，没有定位点，就不再是“歌曲”，只有音乐。Downtempo 提出关于音乐是什么的问题，而不是像其他流派那样给出一个答案。克劳德·德彪西（Claude Débussy）独特的古典作品对许多 Downtempo 音乐产生了重要影响，而尝试结构和声音的非传统世界音乐人也留下了自己的印记。

氛围音乐（Ambient），源自拉丁语“ambire”（意为“环绕”），是一种出现于七十年代的环绕式音乐流派，对（电子）音乐影响如此之大，以至于它成为整个 Downtempo 流派群的提喻词（pars pro toto）。因为 Ambient 再次提出了一个重要问题：音乐应该是引人注目的、自主的，还是几乎无法区分、融入日常生活的一部分？

Downtempo 拥有复杂而独特的谱系线索。由于缓慢而广泛的演化，整体流派结构非常线性，但可以识别出不少于五个音乐组群。这些组群具有显著的自主性，但由于 Downtempo 的实验性质，也存在高度的重叠：

1. 电子先锋派（Electronic Avant-Garde）：负责为所有电子音乐奠定基础，因而也为近一半的流行音乐流派奠定基础。这包括具体音乐（Musique Concrète）、极简主义（Minimalism）及其后来的子流派：声音拼贴（Sound Collage）和新极简主义（Neo-Minimalism）。
2. 轻音乐（Easy-Listening）大家族，包括休闲音乐（Lounge）：有时被视为一个独立的超级流派。Easy-Listening 是一个保留给轻柔背景音乐的术语，其起源多样，大多是异域风或爵士风（Jazzy）。
3. 渐进电子（Progressive Electronic）：前卫摇滚（Progressive Rock）与电子音乐在一个流派意义不明的时代的有趣交叉路口，最终导向 Ambient——主要的 Downtempo 流派。
4. 氛围舞曲（Ambient Dance）：Ambient 与任何其他 EDM 流派的结合，例如：Ambient Techno、Ambient Breakbeat、Ambient House 等。有时也被称为 Chill-Out 或 Downbeat，尽管前一个术语也被混淆地用于 Loungetronica。
5. 合成器音乐（Synth）：完全或主要基于合成器的音乐集合，具有突出的合成器旋律和贝斯线，但与 Electronic Avant-Garde 或 Progressive Electronic 相比，也具有高度的节奏和打击乐元素。", "genrelist": [ "MUSIQUE CONCRETE
具象音乐", "LOUNGE / EXOTICA / SPACE AGE POP
沙发音乐 / 异域风情 / 太空时代流行", "MINIMALISM
极简主义", "MUZAK / ELEVATOR MUSIC
背景音乐 / 电梯音乐", "SYNTH / ELECTRONICA
合成器 / 电子乐", "AMBIENT
氛围音乐", "BIT MUSIC / VGM (CHIPTUNE & 8-BIT)
芯片音乐 / 游戏音乐", "NEW AGE
新世纪音乐", "DARK AMBIENT / DARK INDUSTRIAL
黑暗氛围 / 黑暗工业", "AMBIENT HOUSE / CHILL-OUT
氛围浩室 / 放松音乐", "AMBIENT TECHNO & IDM (INTELLIGENT DANCE MUSIC)
氛围科技舞曲 & IDM", "TRIP HOP
神游舞曲 (Trip Hop)", "AMBIENT BREAKS & ILLBIENT
氛围碎拍 & 病态氛围", "GLITCH / CLICKS 'N' CUTS
故障音乐 / 点击切割", "DIGITAL MINIMALISM / LOWERCASE
数字极简主义 / 小写音乐", "MINIMAL WAVE / SYNTH & MINIMAL INDUSTRIAL (REVIVAL)
极简浪潮 / 合成器极简工业复兴", "SYNTHWAVE & VAPORWAVE
合成波 & 蒸汽波" ], "name_zh": "缓拍/ 氛围" }, "inl01": { "name": "KRAUTROCK
德国泡菜摇滚 / 宇宙音乐", "year": "1970", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "master", "GOLDEN AGE" ], "description": "
在二战后的一段时期里，德国文化，尤其是音乐，一直在寻找新的身份。决心创造有史以来最原创、最具创新性和最独特的音乐，一小撮德国乐队开始工作，从几乎同样具有实验性的前卫摇滚（Progressive Rock）团体中汲取影响。当第一批商业合成器发布时，他们是先驱，以任何可以想象的方式利用它们，从而向大众推出了电子音乐。典型德国式的，结果是前卫摇滚，但是带有电子影响，并基于一种称为Motorik的重复性、机械性的声音。\n\nMotorik赋予了泡菜摇滚（Krautrock）一种无菌的声音，因为完全没有声学元素。通过使用这种Motorik，Krautrock引入了一种让人想起极简主义和先锋缓拍（Downtempo）的缓慢歌曲进展，而不是传统的摇滚结构和独奏。受迷幻音乐的影响也受到德国乐队的欢迎，他们与之共享对实验的热爱。Krautrock实际上是英国媒体的一个贬义词。在德国，Krautrock冗长的电子-迷幻-前卫-摇滚歌曲在当时更恰当地被称为宇宙摇滚（Cosmic/Kosmischen Rock）。代表乐队包括Can、Kraftwerk、Neu!、Tangerine Dream以及Faust。
In the period ensuing World War II, German culture and especially music had been looking for a new identity. Determined to create the most original, innovative and unique music ever invented, a handful of German bands got to work, drawing influences from almost equally experimental Progressive Rock groups. When the first commercial synthesizers were released, they were the vanguard to exploit them in any way imaginable and thus releasing electronic music onto the masses. Typically German, the result was Prog Rock, but with electronic influences and based on a repetitive and mechanical sound called “Motorik”. Motorik gave Krautrock a sterile sound due to a complete absence of acoustic elements. By using this motorik, Krautrock introduced a slow song progression reminiscent of Minimalism and avant-garde Downtempo, instead of traditional Rock structures and solos. Influences from Psychedelia were also welcomed by German bands, with which they shared a love for experimentation. Krautrock is actually a derogatory term by the British Press. In Germany, Krautrock’s lengthy “Electro-Psy-Prog-Rock” songs were more appropriately known at the time as Cosmic (Kosmischen) Rock. With their mythological and cryptic band names, Krautrock bands formed the perfect prelude for Space Rock, which finally evolved into Stoner Rock.

One band however, chose a far more radical path than others by abandoning all Rock influences. Kraftwerk made the first completely electronic music that had recognizable structure, melody, and bass. With Kraftwerk as arguably the most revolutionary popular music artist of all time, Krautrock is one of the most influential genres, bridging the gap between Rock and Dance.
", "songlist": [ "Kraftwerk - Trans-Europe Express (1977)", "Neu! ''Hallogallo''", "CAN - Vitamin C (Official Audio)", "Faust - So Far", "Popol Vuh - Letzte Tage, Letzte Nachte", "Hollywood", "Surrounded by the Stars", "Ash Ra Tempel - Amboss", "Guru Guru - Der Electrolurch", "The Cosmic Jokers – Galactic Joke" ], "playlistID": "PLb15rbk6I4pPqrGvdC-uVj73Yab4it0fy", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPqrGvdC-uVj73Yab4it0fy", "spotify-playlist-link": "https://open.spotify.com/playlist/28y4il7VffgyPuUbAIve0i?si=P2eEXdEpTaOM2aTdqY7aJg", "name_zh": "德国泡菜摇滚 / 宇宙音乐" }, "inl02": { "name": "(AVANT-GARDE) INDUSTRIAL
先锋工业", "year": "1975", "supergenre-first-tag": "INDUSTRIAL", "description": "
泡菜摇滚（Krautrock）并没有停止。它急剧变化和扩展为一种独立的文化，后来成为整个音乐流派群。然而，第一波工业音乐（Industrial / Early / Avant-Garde Industrial）是迄今为止最具实验性的流派。一个被推向极致的观念艺术场景，渴望的先锋派试图尽可能具有挑衅性：极权主义图像/封面艺术、令人不安/精神病的图像和歌词，以及使用吉他和合成器书中的每一个技巧来创造重复但不连贯的工厂声音拼贴（因此得名industrial），带有失真和错误的喃喃自语以及极简主义的旋律。\n\n甚至（自由）爵士（Free Jazz）也成为灵感，如果它有助于提升工业音乐的扰动。这是一个对于绝大多数人来说听起来无异于无法忍受的精神病噪音的流派：音乐作为酷刑。绝大多数工业音乐（作为超级流派）来自德国：一个深不可测的遗产和泡菜摇滚伟大实验的有力证明。早期工业音乐深受现代主义和达达主义的影响，相信拆除社会并重新建立。工业音乐喜欢引用反复出现的主题如反乌托邦、异化和非人化。代表乐队包括Throbbing Gristle、Cabaret Voltaire、Einstürzende Neubauten、SPK以及Coil。
Krautrock didn’t stop. It changed and expanded drastically into an independent culture, later to become a whole group of music genres. However, the first wave of Industrial (or Early / Avant-Garde Industrial) is by far the most experimental genre. A conceptual artist scene taken to the extreme, where eager avant-gardists tried to be as provocative as possible: totalitarian iconography/cover art, disturbing /psychotic imagery and lyrics, and using every trick in the guitar and synth book to create a repetitive but incoherent collage of factory sounds (hence industrial) with distorted and false mumbling and minimalistic melodies. Even (Free) Jazz becomes an inspiration if it helps upscale Industrial’s perturbation. This is a genre that would sound no different than unbearable, psychotic noise for the vast majority of people: music as torture. The overwhelming majority of Industrial music (as a super-genre) comes from Germany: an unfathomable legacy of and a powerful testament to the grand experiment of Krautrock.

Early Industrial draws heavily on influences from Modernism and Dadaïsm, believing in tearing down society and building it up again. Industrial likes to refer to recurring themes of constructivism, machinery, industrialization, and world order: we are all gears in the clockwork of society. More than any other music genre, Industrial seeks out the bigger philosophical issues, yet does not delivers answers - only a shock treatment the likes one has never heard.
", "songlist": [ "Cabaret Voltaire - Nag Nag Nag ( Bonn 1980 Live Industrial - Electro Punk-Experimental Noise-Punk)", "CLOCK DVA - BEAUTIFUL LOSERS (1983)", "SPK - Cultures in Decay", "Einstürzende Neubauten - Kollaps", "Gregouka", "Test Dept. - Total State Machine", "Savage Republic - Next to Nothing", "Z'ev ＂z = -[Es+E3 ]＂" ], "playlistID": "PLb15rbk6I4pMrFaY7z_P5D1NLki5P-yYt", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMrFaY7z_P5D1NLki5P-yYt", "spotify-playlist-link": "https://open.spotify.com/playlist/5oHweesrPodHwJWOtiXcx6?si=YObtMpgSQOCdeli9MsbaYw", "name_zh": "先锋工业" }, "inl03": { "name": "GOTHIC ROCK & DEATHROCK
哥特摇滚 & 死亡摇滚", "year": "1979", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(punk/wave)" ], "description": "
认识到朋克摇滚（Punk Rock）没有改变世界，也永远不会，将少数后朋克（Post-Punk）团体推向了一种更压抑、更虚无主义的声音。这是一次尖锐摇滚乐的糟糕旅程，可以称之为黑暗酸性朋克摇滚，带有一抹工业色彩。虽然哥特摇滚（Gothic Rock，有时称为黑暗朋克 Dark Punk）先锋只是试图创造一种适合绝望和经济危机时代的独特摇滚声音，但音乐启发了一个众所周知的更广泛的亚文化：哥特（Goth）。与黑暗艺术、忧郁诗歌或文学、夜间主题和黑色紧密相连，哥特尽可能不快乐和绝望。\n\n特别是19世纪的黑暗浪漫故事，如爱伦·坡（Edgar Allan Poe）的作品，对哥特摇滚产生了巨大影响。从音乐中演变出来的哥特亚文化（但并非艺术家本身）将影响新的哥特艺术家变得更电子化和阴险，导致暗潮（Darkwave）。伦敦后朋克场景大约在同一时间发展了一个非常相似的流派，但更多涉及死亡和恐怖的主题：死亡摇滚（Death Rock）。伦敦的蝙蝠洞俱乐部（Bat Cave club）是这些新艺术家的主要活动基地，像朋克吸血鬼一样在夜晚苏醒。代表乐队包括Bauhaus、Siouxsie and the Banshees（哥特时期）、The Sisters of Mercy以及Fields of the Nephilim。
The realization that Punk Rock didn’t change the world and never would, pushed a small number of Post-Punk groups towards a more depressing, nihilistic sound. It was a bad trip of edgy Rock ‘n’ Roll one could call dark acid punk rock, with a touch of industrial. While Gothic Rock (sometimes known as Dark Punk) pioneers simply tried to create a unique rock sound fitting for the age of despair and economic crisis, the music inspired a well-known, broader subculture: Goth. Strongly tied to dark art, melancholic poetry or literature, nocturnal themes and the color black, Goth is as unhappy and despairing as possible. Especially dark romantic tales from the 19th century such as the works of Edgar Allan Poe, were a big influence on Gothic Rock. The subculture of Goth evolving out of the music (but not the artists themselves) would influence new Gothic artists into becoming more electronic and sinister, leading to Darkwave.

The London Post-Punk scene developed around the same time a very similar genre, but with more themes from death and the macabre: Death Rock. The Bat Cave club in London was the primary operating base for these new artists, awakening in the night as Punk vampires.
", "songlist": [ "Bauhaus - Bela Lugosi's Dead (Original)", "The Sisters Of Mercy - Black Planet", "The Cure - A Forest", "Siouxsie And The Banshees - Cities In Dust", "45 Grave - Phantoms", "The Southern Death Cult - Fat Man", "Kommunity FK - Something Inside Me Has Died", "Sex Gang Children Mauritia Mayer", "Theatre of Hate -- Do You Believe In The Westworld？" ], "playlistID": "PLb15rbk6I4pNq8sh3mKZ6_e3Ln0qp9V5Z", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNq8sh3mKZ6_e3Ln0qp9V5Z", "spotify-playlist-link": "https://open.spotify.com/playlist/0fguWOg4ixe4zMpcbDFXl9?si=ekgotdymTLm53QjBpbchVg", "name_zh": "哥特摇滚 & 死亡摇滚" }, "inl04": { "name": "ELECTRONIC BODY MUSIC (EBM)
电子身体音乐", "year": "1982", "supergenre-first-tag": "INDUSTRIAL", "description": "
音乐。没有。情感。句号。比工业音乐更机械、更电子、更重复，但没有噪音和对怪异的艺术痴迷。这几乎是军事音乐，带有一种机器人的攻击性。凭借硬性打击和踢击节拍，EBM制造了电子舞曲音乐（Electronic Dance Music）的第一个原型。EBM，电子身体音乐（Electronic Body Music）的缩写，也称为工业舞曲（Industrial Dance），是第一个产生某种可以实际被理解或有任何意义的人声的工业流派（尽管非常无调性），这使其比对应流派更具可及性（哥特摇滚当时尚未与工业文化绑定）。\n\n黑暗、单调的敲击声成为对其他舞曲流派和艺术家的重要影响，因为浩室（House）和高科技舞曲（Techno）尚未发明。这对于另一个比利时现象：新节拍（New Beat）尤其如此。EBM也影响了合成器流行（Synthpop），反之亦然，因为这些是八十年代早期仅有的真正数字流派（尽管它们来自截然不同的路径）。即使在浩室和高科技舞曲全面欧洲扩张之后，EBM仍然是一个重要且独特的流派；特别是在德国，它被广泛接受。代表乐队包括Front 242、Nitzer Ebb、DAF、Die Krupps以及VNV Nation。
Music. Without. Emotions. Full Stop. More mechanical, more electronic and more repetitive than industrial, but without the noise and arty obsession for the bizarre. This is almost military music with a sort of robotic aggression. With hard striking and kicking beats, EBM manufactured the first prototype for Electronic Dance Music. EBM, short for Electronic Body Music and also known as Industrial Dance, was the first industrial genre to produce some sort of vocals (though very atonal) that could actually be understood or made any sense, which made it far more accessible than its counterpart genres (Gothic Rock was not bound to Industrial culture yet at that time). The dark, monotonous beating sound became an important influence on other dance genres and artists, since House and Techno weren’t invented yet. This was especially true for that other Belgian phenomenon: New Beat. EBM also influenced Synthpop and the other way around because these were the only true digital genres in the early eighties (though they came from very different paths). Even after the full-blown European expansion of House and Techno, EBM remained an important and distinctive genre; especially in Germany where it gradually faded but not without influencing the whole of Industrial music.
", "songlist": [ "Front 242 - Body To Body", "D.A.F - Der Mussolini", "Liaisons dangereuses - Los niños del parque", "Laibach - Tanz mit Laibach (Official video)", "THE NEON JUDGEMENT THE FASHION PARTY", "Bigod 20 - The Bog", "Dig It", "Covenant - Go film", "AND ONE- TECHNOMAN" ], "playlistID": "PLb15rbk6I4pMfB8yPHhHwAaHuHkj9D8pU", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMfB8yPHhHwAaHuHkj9D8pU", "spotify-playlist-link": "https://open.spotify.com/playlist/10TDBTnCInZodr0rcVukt2?si=C7G6F5bsTKyoMCgMb3Tplg", "name_zh": "电子身体音乐" }, "inl05": { "name": "NOISE MUSIC
噪音音乐", "year": "1982", "supergenre-first-tag": "INDUSTRIAL", "description": "
噪音音乐（Noise Music）可以是一个极其广泛的流派名称，包含任何包含某种噪音的音乐。这里它仅被用作所谓的噪音音乐场景（Noise Music Scene），这是八十年代初出现的一个独立的工业音乐学派。此时，工业场景正走向更舞蹈导向的方向，EBM和电子工业（Electronic Industrial，原初Aggreppo）作为更重复或更旋律化的演变出现。相反的方向——严格的噪音，以任何可能的手段——带来了持续至今的后工业噪音相关子流派浪潮。\n\n对未经训练的听众来说几乎无法区分的子流派数量令人震惊：强力电子（Power Electronics）、死亡工业（Death Industrial）、实验工业（Experimental Industrial）、Technoid、力量噪音（Power Noise）、鼓与噪音（Drum 'n' Noise）、日本噪音（Japanese Noise）等等。日本噪音（Japanoise/J-Noise/Harsh Noise/Noisecore，可以说是最重要的子流派）最初作为任何与日本相关的噪音事物的模糊总称，但逐渐形成为一个拥有自己亚文化的明确流派。Noisecore使用极其尖锐和刺耳的声音，而不是德国工业更深沉和更微妙的音调。噪音音乐显然与日本硬核朋克（Hardcore Punk）场景和极端金属（Extreme Metal）有紧密联系。代表艺人包括Merzbow、Masonna、Whitehouse、Boredoms以及The Gerogerigegege。
Noise Music can be an incredibly broad genre name, incorporating any kind of music that harbors some sort of noise. Here it is only used as the so called “Noise Music Scene” which is a separate school of Industrial music emerging in the early eighties. At this point the Industrial scene was taking a more dance oriented approach, with both EBM and Electronic Industrial (Proto-Aggreppo) emerging as either more repetitive or melodic evolutions. The opposite direction – strictly noise, by any means possible – brought forth a Post-Industrial wave of noise-related subgenres lasting until the present.

The amount of subgenres, barely discernable for the untrained listener, is stupefying: Power Electronics, Death Industrial, Experimental Industrial, Technoid, Power Noise, Drum ‘n’ Noise, Japanese Noise, and more. Japanoise, J-Noise, Harsh Noise or Noisecore (arguably the most important subgenre) started as a vague umbrella term for anything noise related from Japan but gradually formed into a defined genre with its own subculture. Noisecore employs extremely sharp and harsh sounds, instead of the deeper and the more subtle tones of German Industrial.

Noise Music obviously has strong ties with the noisiest music genres: Breakcore, Digital Hardcore, IDM, Noise Rock & Pop, and Gabber. It is this quest for music that no-one might like, as a nemesis of mainstream, that gives testimony to the saturation of possible music genres.
", "songlist": [ "Whitehouse - On Top", "The New Blockaders - Manifesto (1982)", "The Grey Wolves - Red Terror", "Winterkälte - Incinerator", "Imminent Starvation - Lost Highway 45", "Merzbow-Requiem", "Masonna - Eat Maggot", "Incapacitants - Apoptosis", "Hanatarash - 1969 ( Japan Industrial Noise ⧸Experimental Noise)" ], "playlistID": "PLb15rbk6I4pP6aIgZ37G1xqE1g7H8r4Wj", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP6aIgZ37G1xqE1g7H8r4Wj", "spotify-playlist-link": "https://open.spotify.com/playlist/2ZlpBNwzIna5dWRODH3wjs?si=ErP0MFosTDSa_iBn10RPZA", "name_zh": "噪音音乐" }, "inl06": { "name": "DARK AMBIENT / DARK INDUSTRIAL
黑暗氛围 / 黑暗工业", "year": "1984", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "master", "DOWNTEMPO" ], "description": "
让人想起卡尔海因茨·施托克豪森（Karlheinz Stockhausen）史诗般的青少年之歌（Gesang Der Jünglinge），黑暗工业（Dark Industrial）可以提供冗长的作品（有些超过20分钟）。几乎不可能将黑暗工业与相关流派黑暗氛围（Dark Ambient/Isolationism）和氛围工业（Ambient Industrial）分开，因为它们都包含同样怪异的氛围；有时美丽但经常彻底令人恐惧和不安。一个最小音景的过去用典型的工业声音效果和技术复活，其中萦绕和阴郁的声音（通常本质上是重复的）构成前景。\n\n在背景中，人们经常发现一股严重失真的噪音流。与早期工业的区别在于噪音/实验性方法较少，更具氛围/有气氛的方法。黑暗氛围是你典型的夜间墓地废墟配乐，或者是单色森林通过过去画面回声的声音。毫不奇怪，这一流派常被用于恐怖电影或恐怖游戏配乐。在八十年代末，黑暗氛围中涌现出一个重要的子流派：空灵暗潮（Ethereal Darkwave/Neoclassical Wave）。空灵暗潮在法国成为一个重要事物，那里诡异的法语低语或哭泣的声音萦绕在听众周围。代表艺人包括Lustmord、Atrium Carceri、Raison d'Être、Desiderii Marginis以及Dead Can Dance（部分）。
Reminiscent of Karlheinz Stockhausen’s epic “Gesang Der Jünglinge”, Dark Industrial can deliver lengthy compositions (some over 20 minutes long). It’s nigh impossible to separate Dark Industrial from related genres Dark Ambient (aka Isolationism) and Ambient Industrial as they all consist of the same eerie atmosphere; sometimes beautiful but often downright frightening and disturbing. A minimal soundscape of the past resurrected with typical industrial sound effects and techniques, in which haunting and gloomy sounds (often repetitive in nature) form the foreground. In the background one regularly finds a stream of heavily distorted noise. The difference with Early Industrial lies in a less noisy/experimental approach and a more ambient/atmospheric one. Dark Ambient is your typical graveyard ruin by night soundtrack, or the sound of a monochrome forest echoing through a picture from the past. It’s no surprise that this genre is often used in horror films or scary game soundtracks. Out of Dark Ambient an important subgenre in the late eighties arises: Ethereal (Dark)wave or Neoclassical Wave. Ethereal Wave becomes a big thing in France, where spooky French hushes or weeping voices are added on top of melodramatic classical music infused with Dark Ambient elements. The result is the ultimate Gothic music and a further strengthening of its relationship with Industrial.
", "songlist": [ "Nurse With Wound - Futurismo", "Lustmord - Zoetrope Trailer", "Zoviet France - Pearroc (Oestre 1984)", "Autopsia - Welt Ist Won Erz ( Dark Ambient ⧸ Industrial 90's )", "Gruntsplatter - Where the Fearful Eat Their Young", "Persephone (The Gathering of Flowers) (Remastered)", "ARCANA - Angel of Sorrow", "This Mortal Coil-Filigree & Shadow", "Elend - The Reign Of Chaos And Old Night" ], "playlistID": "PLb15rbk6I4pPa4ovFMbo-Z_p9JotbPoNC", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPa4ovFMbo-Z_p9JotbPoNC", "spotify-playlist-link": "https://open.spotify.com/playlist/1jvW8rSm9IFzv14k7xbeLu?si=QC04UujnT0-jLIDOgwcAVg", "name_zh": "黑暗氛围 / 黑暗工业" }, "inl07": { "name": "DARKWAVE & COLDWAVE
暗潮 & 冷潮", "year": "1985", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(punk/wave)" ], "description": "
在少数早期哥特摇滚（Gothic Rock）先锋的鼎盛时期之后，哥特运动接受了他们的遗产，开始创作更黑暗、更忧郁的音乐，带有萦绕的合成器旋律、鼓机和后朋克吉他riff。内向的歌词通常是关于哥特（浪漫）主题的。这种更黑暗形式的新浪潮（New Wave，通常是更后朋克而非新浪潮）被称为暗潮（Darkwave）。暗潮在德国作为哥特摇滚的第二波出现。它与合成器流行（Synthpop）融合，因此变得更加电子化。\n\n另一方面，冷潮（Coldwave）是一个复杂得多的故事。对美国媒体来说，Coldwave是非常重的、以吉他为基础的Darkwave，是工业金属（Industrial Metal）的前身（如乐队Chemlab、Hate Department或16 Volt）。在欧洲（特别是法国），Coldwave被认为是一种极简主义的、哥特式的合成器流行。我们将使用后一种定义，它有时可能被标记为Synthcore，尽管不应将其与另一种（硬核）Synthcore混淆。Darkwave和Coldwave涵盖了从八十年代末至今的所有哥特音乐。与电子工业（Electro-Industrial）和工业摇滚（Industrial Rock）一起，它构成了选择地下但永生的工业/哥特亚文化音乐的三位一体。代表乐队包括Clan of Xymox、Lycia、Diary of Dreams、The Frozen Autumn以及She Past Away。
After the heydays of the few early Gothic Rock pioneers, the Gothic movement took their legacy and started creating darker, more melancholic music with haunting synth melodies, drum machines, and Post-Punk guitar riffs. The introvert lyrics were typically about Gothic (romantic) topics. This darker form of New Wave (usually it was more Post-Punk than New Wave) was called Darkwave. Darkwave emerged in Germany as a second wave of Gothic Rock. It merged with Synthpop, and thus became much more electronic.

Coldwave on the other hand, is a much more complex story. To the American press, Coldwave is very heavy, guitar based Darkwave and a predecessor of Industrial Metal (such as bands Chemlab, Hate Department or 16 Volt). In Europe (especially in France) Coldwave is known as a minimal, Gothic type of Synthpop. We will use the latter definition, which might sometimes be labeled as Synthcore, though you should not confuse this with the other (Hardcore) Synthcore.

Darkwave and Coldwave encompass all Goth music from the late eighties until present. Together with Electro-Industrial and Industrial Rock it would form a musical trinity as the music of choice for the underground but undying industrial subculture.
", "songlist": [ "FIELDS OF THE NEPHILIM - Laura", "The Crüxshadows - Deception", "The Mission - Deliverance", "Deine Lakaien - Dark Star (Official Video)", "Red Lorry Yellow Lorry - Talk About The Weather", "CLAN OF XYMOX something wrong", "Gene Loves Jezebel - Heartache", "Girls Under Glass - Down in the park", "Parade Ground - Moans [HD]", "The Frozen Autumn - Is Everything Real？" ], "playlistID": "PLb15rbk6I4pPibM9OuHSOphXXs_RevDuj", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPibM9OuHSOphXXs_RevDuj", "spotify-playlist-link": "https://open.spotify.com/playlist/6AdzP5CQ8ojDJV1dAss6nv?si=aby8fzA3SAyTxiqbpJVtDQ", "name_zh": "暗潮 & 冷潮" }, "inl08": { "name": "INDUSTRIAL ROCK / INDUSTRIAL METAL
工业摇滚 / 工业金属", "year": "1989", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(metal)" ], "description": "
一堵电子放大的硬摇滚/金属riff之墙（达到最大值）将你吹倒，愤怒抗议的歌手生来就是国家公敌。这就是工业摇滚/金属（Industrial Rock/Metal）：一种如此响亮且本质上不妥协的音乐风格，以至于实际上工业摇滚和金属之间没有区别（尽管有些人会不同意），并且让你意识到硬摇滚真的没有那么硬。摇滚与工业的融合注定要发生，因为两者一直通过泡菜摇滚（Krautrock）紧密相连。\n\n第一波工业金属乐队如Ministry和Godflesh，更倾向于摇滚而非电子音乐，以超重嗡鸣的riff和对混沌/噪音的亲和力为特征。后来的一些乐队——他们也关注表演的戏剧性和视觉美学（服装、音乐录影带、奢华演出）——改变了那种声音。工业金属（又名Aggro-Industrial）演变出一种更电子化和驱动性的声音，使用音序器和更多合成器。在德国，一个称为新德意志硬派（Neue Deutsche Härte, New German Heart）的具体运动出现，带有更斯多葛式的表现和精致制作。代表乐队包括Rammstein、Nine Inch Nails、Marilyn Manson、Ministry以及Fear Factory。
A wall of electronically amplified Hard Rock / Metal riffs (to the maximum) blows you away with angry protesting singers that were born to be enemy of the state. This is Industrial Rock/Metal: a music style that’s so loud and uncompromising in its own nature that there actually is no difference between Industrial Rock and Metal (though some would disagree), and that makes you realize that Hard Rock really isn’t that hard. The fusion of Rock and Industrial was bound to happen, as both always were closely related to each other via Krautrock.

The first wave of Industrial Metal bands such as Ministry and Godflesh, was more oriented towards Rock than electronic music, and featured ultraheavy droning riffs alongside an affinity towards chaos/noise. A number of later bands, who also focused on the theatrics of their performance and visual aesthetics (costumes, video clips, extravagant shows) changed that sound. Industrial Metal (aka Aggro-Industrial) evolved into a more electronic and driven sound, with use of sequencers and more synth. In Germany, a specific movement known as the Neue Deutsche Härte (New German Heart) emerged with a more stoic appearance and polished production (though still equally as loud as other Industrial Rock). These bands were responsible for familiarizing Industrial to a larger audience, yet this never seduced the artists of walking down a path of predictability and political correctness. When this new kind of music broke through, it created a small shockwave, catapulting the obscure and alternative Industrial scene into mainstream with major label superstars filling arenas. Because lots of people seemed to crave for the heaviest music possible but with that extra touch of synth.
", "songlist": [ "Nine Inch Nails - Sin", "Marilyn Manson - Rock Is Dead (Official Video)", "Rammstein - Ich Will (Official Video)", "Rob Zombie - Dragula", "Ministry - Stigmata (Video Version)", "KMFDM - Ultra", "Gravity Kills - Enough", "Cubanate - Oxyacetalene", "Godflesh - Nihil", "Eisbrecher - Eiszeit (official video)" ], "playlistID": "PLb15rbk6I4pNk_SvqBMpJFqafjh9FCpkY", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNk_SvqBMpJFqafjh9FCpkY", "spotify-playlist-link": "https://open.spotify.com/playlist/0sAoai7mQzoE81vIrOmNKy?si=7uqshItgQoKJIDjFnsd5Pg", "name_zh": "工业摇滚 / 工业金属" }, "inl09": { "name": "ELECTRO-INDUSTRIAL / AGGREPPO
电子工业 / 侵略性流行", "year": "1990", "supergenre-first-tag": "INDUSTRIAL", "description": "
第二波工业音乐与第一波截然不同：它不是一个革命性运动，而是深度地下工业夜生活的出门音乐。这是第一个真正的工业舞曲（Industrial Dance），尽管更常被称为Aggreppo（Aggressive Pop，侵略性流行）。电子工业（Electro-Industrial）将所有工业流派混合到一个电子重击节拍上，结果是一种黑暗颂歌高科技舞曲（Dark Anthem Techno），既有萦绕的女性人声，也有阴险的男性低语或喃喃人声。\n\n电子工业让人感觉舞池被渴望欲望的吸血鬼和威吓的审判官所控制。施虐受虐、酷刑、束缚和色情实际上是电子工业的常见主题。比以往更深沉、更黑暗、更多层次，电子工业传递着一种支配和权力的氛围，这是Aggreppo的通用分母。电子工业也开启了工业音乐中常见的黑色未来主义（Futurism Noir）或黑暗科幻主题。一些艺术家将音乐的冷酷推向极端，并将其与无调性人声和EBM的脉冲节奏结合起来。这在九十年代中期导致了Technoid（也称为恐怖EBM Terror EBM）——一种甚至更黑暗、更扭曲的电子工业形式，具有催眠性的重复和变态主题。代表乐队包括Skinny Puppy、Front Line Assembly、Wumpscut、Velvet Acid Christ以及:Wumpscut:。
The second wave of industrial was quite different from the first one: instead of a revolutionary movement, it was going-out music for the deep underground industrial nightlife. This was the first true Industrial Dance, though it is more commonly known as “Aggreppo” (Aggressive Pop). Electro-Industrial mixed all Industrial genres onto an electronic pounding beat, which resulted in a sort of “Dark Anthem Techno” with both haunting female vocals and sinister whispering or mumbling male vocals. Electro-Industrial makes it seem as if the dancefloor is controlled by lust-craving vampires and intimidating inquisitors. Sado-masochism, torture, bondage and pornography are in fact common themes of Electro-Industrial. Deeper, darker, and more layered than before, Electro-Industrial channels an aura of dominance and power, the universal denominator of Aggreppo. Electro Industrial also started Industrial’s common theme of “Futurism Noir” or dark sci-fi. A theme referred to by the recurring prefix “cyber”, such as Aggreppo’s alias: Cybertechno.

Some artists take the ruthlessness of the music to the extreme and combine this with atonal vocals and the pulsing rhythm of EBM. This has led in the mid-nineties to a popular subgenre: Aggrotech (aka Terror EBM or Hellektro). Aggrotech is a bold and traumatizing combination of EBM and Aggreppo with sharper and abrasive sounds. Aggrotech is arguably one of the most extreme music genres and a prime example of Industrial’s (successful) ambition to create anti-music.
", "songlist": [ "FRONT LINE ASSEMBLY 'Mindphaser 12＂ mix' official music video [HQ Audio]", "Flesh Field - Disillusion", "Suicide Commando - Unterwelt", "Numb - Hole", "Haujobb - Solid State Logic", "Leather Strip - Strap me down", "Slick Idiot - Xcess", "Cold Massive Blue", "Acylum - Ruthless Aggressions (Cold Hands)" ], "playlistID": "PLb15rbk6I4pNIDoBgzbfyPnoe8FQ45GaS", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNIDoBgzbfyPnoe8FQ45GaS", "spotify-playlist-link": "https://open.spotify.com/playlist/3Rkc8gGu4kkf1TVTavwGYV?si=GObNuyG8RRWaVEydm-7OKQ", "name_zh": "电子工业 / 侵略性流行" }, "inl10": { "name": "FUTUREPOP
未来流行", "year": "1999", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(trance)" ], "description": "
未来流行（Futurepop）可以被视为电子工业（Electro-Industrial）的一个子流派或它的一种演变（即某种新事物）。这里更倾向于后者。尽管它是Carta上最小和最不知名的流派之一，Futurepop再次展示了工业（Industrial）与迷幻舞曲（Trance）之间有趣的联系。这在之前发生过，当时硬性EBM节拍进入了最早的果阿迷幻舞曲（Goa Trance）形式。Futurepop与Aggreppo一样是流行音乐，意味着它几乎根本不是真正的流行音乐。\n\n然而，它是一种更干净、制作更精良的电子工业类型，没有失真、恐怖的人声或淫秽主题。这一流派专注于黑暗但美丽的忧郁合成器旋律和强大的合成器贝斯线，可以让人想起并跨界到（黑暗）Trance（尽管通常在较低的bpm下）。Futurepop可以反映大量暗潮（Darkwave），因为后者是哥特式合成器流行，而前者实际上是工业合成器流行。Futurepop是任何科幻或未来主义事物的完美配乐：完全电子和黑暗，但水晶般清晰。这不是像Trance那样的器乐音乐；同样忧郁的人声关于夸张的、圣经般的主题（面向未来）标志着这一流派的高度主题化。代表乐队包括VNV Nation（转型后）、Apoptygma Berzerk、Assemblage 23、Covenant以及Rotersand。
Futurepop can be seen as a subgenre of Electro-Industrial or as an evolution of it (i.e. something new). The latter is being preferred here. Although it is one of the smallest and least known genres on the Carta, Futurepop illustrates once again an interesting link between Industrial and Trance. This has happened before, when hard EBM beats found their way into the earliest forms of Goa Trance. Futurepop is as much Pop as Aggreppo is Pop, meaning it is barely true Pop at all. It is however a much cleaner, more produced type of Electro-Industrial, with no distortions, scary vocals, or obscene themes. This genre focuses on dark but beautiful melancholic synth melodies and powerful synth basslines, which can recollect and crossover to (dark) Trance (though regularly at a lower bpm). Futurepop can mirror a lot of Darkwave because the latter is Gothic Synthpop, where the former actually is Industrial Synthpop. Futurepop is the perfect soundtrack for anything sci-fi or futuristic: completely electronic and dark, but crystal clear. This is not instrumental music like Trance; equally melancholic vocals about bombastic, biblical topics (future oriented) mark this genre as a highly thematic one.
", "songlist": [ "VNV Nation - Legion", "Apoptygma Berzerk - Unicorn", "Absurd Minds - The question", "Assemblage 23 - Horizon", "Angels & Agony - Forever", "Seabound - Castaway", "Wanted", "Mind.In.A.Box - Change" ], "playlistID": "PLb15rbk6I4pO8UKaTRG15UzpUXJqhu3uM", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO8UKaTRG15UzpUXJqhu3uM", "spotify-playlist-link": "https://open.spotify.com/playlist/3ryIuI9kjZmYdrjjP8hOzQ?si=2t-lzjsTT4WuY6dLxbKn5w", "name_zh": "未来流行" }, "inl11": { "name": "MINIMAL WAVE / SYNTH & MINIMAL INDUSTRIAL (REVIVAL)
极简浪潮 / 合成器极简工业复兴", "year": "2006", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "master", "DOWNTEMPO" ], "description": "
这个被遗忘的子流派是嬉皮士的终极融合：工业的先锋心态被新浪潮合成器旋律变得（勉强）可跳舞，在该流派变得主流之前。有三波工业音乐赋予了该流派整体生命。第一波是七十年代的晦涩实验，将导致许多其他流派（先锋工业 Avant-Garde Industrial）。十五年后，这些流派的影响连同合成器流行、现代摇滚和哥特运动，汇聚成一个全面、完美化的流派，将长期为工业亚文化提供燃料（电子工业 Electro-Industrial）。\n\n又一个十五年后，在回收和不确定性的时代，需要对纯粹主义、极简工业/暗潮进行复兴——这种风格在MIDI被引入新浪潮之前的八十年代早期短暂存在（听起来相当低保真）。极简浪潮（Minimal Wave/Synth Wave，不要与合成波Synthwave混淆）与冷潮（Coldwave）和新德意志浪潮（Neue Deutsche Welle：一种比平常更具氛围感和极简的德国合成器流行形式）密切相关。因此，极简浪潮是一种非常黑暗和业余的合成器流行类型，大量强调现代艺术和概念化。随着电撞（Electroclash）和暗潮复兴已经发生，极简浪潮是对过去创新工艺的又一次重新发现。代表艺人包括Alessandro Adriani、Linear Movement、In Aeternam Vale以及Oppenheimer Analysis。
This forgotten subgenre is the hipster’s ultimate fusion: the avant-garde mentality of industrial made (barely) danceable by New Wave synth melodies before the genre became mainstream.

There are three waves of Industrial that brought the genre as a whole to life. The first one was an obscure experiment of the seventies that would lead to many other genres (Avant-Garde Industrial). Fifteen years later, the influences of these genres alongside Synthpop, modern Rock, and the Goth movement, culminated in an all-round, perfectionized genre that would fuel the Industrial subculture for a long time (Electro-Industrial). Another fifteen years later, in the era of recycling and uncertainty, a revival of purist, minimal Industrial / Darkwave was needed, that briefly existed in the early eighties right before MIDI was introduced to New Wave (sounding quite lo-fi). Minimal Wave aka Synth Wave (not to be confused with Synthwave) is closely related to Coldwave and the Neue Deutsche Welle: a German form of Synthpop that is more ambient and minimal than usual. Minimal wave therefore is a very dark and amateur type of Synthpop, with lots of emphasis on modern artwork and conceptualization. As Electroclash returned interest in Synthpop, so rediscovered Industrial culture Coldwave and Minimal Wave and blended these genres with early Industrial sounds.
", "songlist": [ "Linear Movement - Way Out Of Living", "Hard Corps Dirty", "Turquoise Days - Grey Skies", "Iko - '83 - Approach On Tokyo", "Sickdoll - Ich bin der Schleicher", "Oppenheimer Analysis - The Devil's Dancers", "Love Via Computer" ], "playlistID": "PLb15rbk6I4pO64fTW9IoA9FDlRNyjJize", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO64fTW9IoA9FDlRNyjJize", "spotify-playlist-link": "https://open.spotify.com/playlist/6gpeYFfGBvvyCvgK7A9szV?si=knWp-MZbTsCcZ4jCF3L4JQ", "name_zh": "极简浪潮 / 合成器极简工业复兴" }, "met01": { "name": "CLASSIC METAL
经典金属", "year": "1970", "supergenre-first-tag": "METAL", "supergenre-second-tag": [ "slave", "(golden age)" ], "description": "
重金属（Heavy Metal）在六十年代末曾是与硬摇滚（Hard Rock）可互换的术语。该流派最早的例子——经典金属（Classic Heavy Metal）——常被引用为硬摇滚的例子，反之亦然。因此，经典金属是一个定义松散的流派：简单来说就是比硬摇滚更硬，主要通过更多的放大和失真。然而，两支英国乐队标志了一个转折点，此后与摇滚的分裂成为事实：黑色安息日（Black Sabbath）和齐柏林飞艇（Led Zeppelin）。\n\n1969年阿尔塔蒙特音乐节（Altamont Festival）上四人死亡和过度暴力的令人震惊的悲剧，标志着花权力时代的结束、滚石乐队的暂时流放，以及最重要的是对嬉皮乌托邦信仰的丧失。摇滚无法让世界变得更美好，每个人都目睹了人性的黑暗面：内心深处人是邪恶的。第一个受此事件影响的乐队是齐柏林飞艇。被当时的描述为黑暗、沉重和阴郁的摇滚音乐，几乎无法入耳。黑色安息日发展了更慢、降调的声音，同样充满失真，有着厚重而沉重的riff。在后期作品中，他们也在速度和不同乐器配置上进行了实验。两支乐队都为金属生成了关键基因：沉重的riff、强大的失真、黑暗的主题以及整体的沉重感。
Heavy Metal used to be an interchangeable term with Hard Rock in the late sixties. The earliest examples of the genre - Classic (Heavy) Metal - are often cited as Hard Rock examples and vice versa. As such, Classic Metal is a loosely defined genre: simply “Harder-than-Hard Rock”, mainly by means of more amplification and distortion. However, two British bands marked a turning point after which the schism with Rock was a fact: Black Sabbath and Led Zeppelin.

The shocking tragedy of four deaths and excessive violence at the Altamont Festival in 1969 marked the end of the flower power age, a temporary exile of the Rolling Stones and most importantly: a loss of belief in the hippy utopia. Rock couldn’t make the world a better place and everyone had witnessed the dark side of human nature: deep down inside man is evil. The first band to be influenced by this event was Led Zeppelin. Described at the time as Rock music being dark, heavy and gloomy, it was almost impossible to listen to. Black Sabbath developed an even slower, tuned-down sound, yet also full of distortion, with thick and heavy riffs. In their later work they also experimented with tempo and different instrumentation. Both bands feature lengthy songs, with elaborate guitar solos, while often referring to satanic or dark themes.

These early blueprints inspired Blues Rock and Acid Rock artists into a similar sound and style, yet over the course of time Blues influences became replaced by a pure metallic sound.
", "songlist": [ "Led Zeppelin - Whole Lotta Love (Official Music Video)", "Deep Purple Black Night", "Judas Priest - Breaking The Law (Official Music Video)", "BUDGIE - BREADFAN", "Blue Oyster Cult - (Don't Fear) The Reaper (Official Audio)", "UFO - Silver Bird", "Tom Sawyer - Rush (Lyrics In Description)", "Easy Livin' (2017 Remaster)", "Mississippi Queen", "Blue Cheer - Ride With Me" ], "playlistID": "PLb15rbk6I4pNEl9_7vATYhtyrCc0NcPR7", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNEl9_7vATYhtyrCc0NcPR7", "spotify-playlist-link": "https://open.spotify.com/playlist/6hwN2nguilymRKbsbFMEef?si=u1MDyKJlR_emGI52RXfsyg", "name_zh": "经典金属" }, "met02": { "name": "PROGRESSIVE METAL
前卫金属", "year": "1974", "supergenre-first-tag": "METAL", "description": "
一些重金属乐队（最终越来越多）无法被归类到任何现有流派中。金属社区——比任何其他音乐社区都更痴迷于流派和分类——提出了前卫金属（Progressive Metal/Prog Metal）。然而，将前卫金属视为一个残余的非流派就太简单了。在前卫摇滚（Progressive Rock）的足迹上，前卫金属乐队实验了长而精心结构的歌曲，并加入古典或异域元素。他们努力使金属听起来更强烈、更清脆和干净，但又不可预测且非正式。通过这样做，前卫金属听起来也略微不那么重，因此获得的吸引力较小。\n\n大多数前卫金属比其他金属流派使用更多的声音层或轨道，伴随着稳定的节奏。前卫金属听起来像力量金属（Power Metal）、哥特金属（Gothic Metal）和鞭击金属（Thrash Metal）之间的微妙中间地带。在这场对金属完美的追求中，只有少数乐队为人所知。其他乐队仍然笼罩在他们可能拥抱的晦涩中。近年来，数学金属（Math Metal）催生了前卫金属最新和最奇特的子流派之一：Djent。Djent是一个瑞典前卫金属子流派，基于一种特殊的、高度切分和重音的吉他声音。代表乐队包括Dream Theater、Opeth、Tool、Meshuggah以及Queensrÿche。
A few Heavy Metal bands (eventually more and more) could not be classified within any existing genre. The metal community, more obsessed with genres and classification than any other music community, came up with progressive metal or Prog Metal. Yet it would be too easy to discard Progressive Metal as a residual non-genre. In the footsteps of Progressive Rock, Prog Metal bands experiment with long, elaborately structured songs and adding classical or exotic elements. They thrive to make Metal sound more intense, crisp and clean, yet unpredictable and non-formal. By doing so, Prog Metal also sounds somewhat less heavy and thus gained less appeal. Most Progressive Metal uses more sound layers or tracks than other Metal genres, accompanied by a steady rhythm. Prog Metal sounds like the delicate middle ground between Power Metal, Gothic Metal, and Thrash Metal. In this quest for metallic perfection, only a tiny handful of bands became known. The others remained shrouded in obscurity that they probably embraced.

In recent years, Math Metal has given birth to one of the newest and most peculiar of Progressive Metal subgenres: Djent. Djent is a Swedish Prog Metal subgenre based around a special technique of guitar strokes that sound like the word “Djent”. The term Prog Metal became also somewhat outdated in the 21st century, and thus the latest wave of experimental Metal artists became known as Post-Metal.
", "songlist": [ "TOOL - The Grudge (Official Audio)", "Dream Theater - Overture 1928", "The Lady Wore Black (Remastered 2003)", "Fates Warning - Guardian", "Meshuggah - Dancers To A Discordant System", "Symphony X - The divine wings of tragedy (full song)", "Pain of Salvation - Iter Impius", "THRESHOLD - Unforgiven (OFFICIAL VIDEO)", "EVERGREY - The Grand Collapse (2014) ⧸⧸ Official Music Video ⧸⧸ AFM Records" ], "playlistID": "PLb15rbk6I4pO1ROYamsTWFDqKnpOmyTwg", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO1ROYamsTWFDqKnpOmyTwg", "spotify-playlist-link": "https://open.spotify.com/playlist/0BtsSKt9K6UoFARYm8ezPP?si=onV2AxkRS_ygTyV9pA8drg", "name_zh": "前卫金属" }, "met03": { "name": "POWER METAL
力量金属", "year": "1977", "supergenre-first-tag": "METAL", "description": "
力量金属（Power Metal）是一种不太为人知但定义明确的重金属类型，始于七十年代（特别是在德国），至今仍拥有忠实的粉丝群。力量金属并不真正沉重；首先和最重要的是它高昂而快速。歌词通常讲述关于战士、骑士、龙之类的虚构奇幻故事，几乎总是以高音男声演唱。此外，音乐充满了旋律和鼓的滚奏，不断积累和释放，就像一场充满能量和热情的过山车之旅。\n\n速度型、吉他独奏导向的经典金属（力量金属由此演变，例如早期的范·海伦）与力量金属之间的区别在于，后者似乎持续保持其高速度和更高的频率，仿佛被电力过度充电。力量金属是一个从未真正影响其他流派或演变为另一流派的流派。因此，它保持为一条经久不衰的平行金属溪流，尽管容易被更大的金属流派所掩盖。代表乐队包括Helloween、Blind Guardian、DragonForce、Stratovarius以及Gamma Ray。
Power Metal is a lesser known but properly defined kind of Heavy Metal that started in the seventies (particularly in Germany) and still has a dedicated fanbase today. Power Metal is not really heavy; first and foremost it’s high and fast. The lyrics often tell fictional fantasy tales about warriors, knights, dragons and whatnot and are almost always sung in a high pitched male voice. Furthermore the music is filled with melodies and drum rolls, building up and breaking down, like a rollercoaster ride filled with energy and enthusiasm. The difference between the speedy and guitar solo-oriented types of Classic Metal (of which Power Metal evolved, like e.g. early Van Halen) and Power Metal is that the latter seems to constantly maintain its high velocity and even higher frequency, as if it’s being overcharged with electricity. Power Metal is a genre that never really influenced other genres or evolved in another one. As such it remained a long-lasting parallel Metal stream, though easily eclipsed by the bigger Metal genres.
", "songlist": [ "Blind Guardian- Mirror Mirror", "HAMMERFALL - Any Means Necessary (OFFICIAL MUSIC VIDEO)", "HELLOWEEN - I Want Out (Official Music Video)", "metal church - watch the children pray", "Hail and Kill", "Gamma Ray - Wings Of Destiny", "DragonForce - Heroes of Our Time (Ultra Beatdown Official Video)", "KAMELOT - Insomnia (Official Video) ｜ Napalm Records", "Iced Earth-Dragon's Child" ], "playlistID": "PLb15rbk6I4pPX7HJb_RlrvYSuTIyPN5FM", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPX7HJb_RlrvYSuTIyPN5FM", "spotify-playlist-link": "https://open.spotify.com/playlist/2SohxKStbzWnTmVLHTmbgm?si=tObfY9FeTm2gAsPSmF4G8A", "name_zh": "力量金属" }, "met04": { "name": "GLAM METAL / HAIR METAL / POP METAL
华丽金属 / 长发金属 / 流行金属", "year": "1977", "supergenre-first-tag": "METAL", "supergenre-second-tag": [ "slave", "(golden age)" ], "description": "
到七十年代末，华丽摇滚（Glam Rock）的概念被转移到金属世界。然而，华丽金属（Glam Metal）更进一步。如果华丽摇滚试图显得神秘和古怪，华丽金属则将电视媒介当作窥视者的窗户来拥抱。长发男性乐队（并不新鲜，但在电视上是第一次，因此得名毛发金属 Hair Metal）制作带有流行感的美好感觉曲调的商业金属歌曲，以确保自己获得一些播出时间。华丽金属是少数几个在MTV最初几年被大量播放的音乐流派之一，这进一步扩大了这些艺人的名声。\n\n不幸的是，这种播出（和演唱会）时间不是用来推广音乐，而是推广乐队的私密部位。华丽或流行金属通常是关于性的，或者至少是关于大男子主义和享乐主义主题。然而，最初的抗议很少，因为很难认真对待一支穿着黑色皮革和浓妆的乐队，而且这也不损害收视率。几乎所有著名的华丽金属乐队都驻扎在洛杉矶，那里的星光亚文化吸引着滥交和海洛因滥用，铺平了日落大道的表面。代表乐队包括Mötley Crüe、Poison、Def Leppard、Bon Jovi以及Twisted Sister。
By the end of the seventies, the concept of Glam Rock got transferred to the world of Metal. Glam Metal went a few steps further though. Where Glam Rock tried to be mysterious and excentric, Glam Metal embraced the medium of television like a window for voyeurs. Long haired male bands (nothing new, but was a first for TV, hence the name Hair Metal) made commercial Metal songs with poplike feelgood tunes, to guarantee themselves some air time. Glam Metal was one of the few music genres that got played a lot during the first years of MTV, which further expanded the fame of these artists. Unfortunately this air (and concert) time was not used to promote the music but rather the private parts of the band. More often than not, Glam or Pop Metal is about sex or at the very least about macho and hedonistic themes. Initial protest was minimal though, as it was hard to take a band in black leather and excessive make-up seriously, plus it didn’t hurt the ratings either. Almost all famous Glam Metal bands were based in Los Angeles, where a glam subculture of stardom allures promiscuity and heroin abuse, paving the surface of Sunset Boulevard.
", "songlist": [ "Guns N' Roses - Welcome To The Jungle", "KISS - I Was Made For Loving You", "Alice Cooper - Poison", "Scorpins - Rock You Like A Hurricane", "Poison - Look What The Cat Dragged In (Music Video)", "W.A.S.P. - Wild Child", "DEF LEPPARD - ＂Pour Some Sugar On Me＂ (Official Music Video)", "Van Halen - Jump (Official Music Video) [HD]", "Mötley Crüe - Too Young To Fall In Love (Official Music Video)" ], "playlistID": "PLb15rbk6I4pP9vSIZBhfVbdoxZCVz2vqB", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP9vSIZBhfVbdoxZCVz2vqB", "spotify-playlist-link": "https://open.spotify.com/playlist/3unWAbnLoZnXqBxN7KkrCT?si=_2Ny0saFTJCA2g2I9lCiAQ", "name_zh": "华丽金属 / 长发金属 / 流行金属" }, "met05": { "name": "NWOBHM (NEW WAVE OF BRITISH HEAVY METAL)
不列颠重金属新浪潮", "year": "1979", "supergenre-first-tag": "METAL", "description": "
当重金属（Heavy Metal）在英国被接受时，大量年轻乐队渴望制作自己的原始、充满活力、革命性的音乐。一方面是对华丽/流行金属商业化的鄙视所驱动，另一方面是保持英国朋克遗产存活的冲动。这些年轻乐队聚集在车库里，迅速形成了对华丽金属的大规模反作用。通过变得（很多）更快、更响、更硬，歌词变得更加悲观和具有攻击性，他们将经典金属转变为英国重金属新浪潮（NWOBHM, New Wave of British Heavy Metal，尽管车库金属会是更合适和描述性的名称）。\n\nNWOBHM将早期的经典金属和硬摇滚乐队重新发明为更具金属感和更锋利的声音，从而将重金属塑造成其最常联系的特征性声音。英国金属音乐家通过展示子弹般的速度riff、尖叫的独奏和高亢的人声（虽然仍低于力量金属），将重金属塑造成大多数人所知的流派。到达美国本土后，NWOBHM转变为鞭击金属（Thrash Metal），而许多英国乐队继续表演并或多或少保持他们的声音。代表乐队包括Iron Maiden、Judas Priest、Motörhead、Saxon以及Diamond Head。
When Heavy Metal was picked up in the UK, a lot of young bands were eager to make raw, energetic, revolutionary music on their own. On the one hand driven by a contempt for the popularity of Glam/Pop Metal’s commercialism, on the other hand by an urge to keep the British Punk legacy alive. These young bands gathered in garages and quickly formed a massive counterreaction to Glam Metal. By being (a lot) faster, louder, and tougher and with lyrics becoming more pessimistic and aggressive, they transformed Classic Metal into the New Wave of British Heavy Metal (NWOBHM) (although “Garage Metal” would also be a more suitable and descriptive name). The NWOBHM reinvented earlier Classic Metal and Hard Rock bands into a more metallic and edgier sound, and hereby shaping Heavy Metal into the characteristic sound it is most affiliated with. British Metal musicians molded Heavy Metal into the genre most people know, by showing off with bullet-speed riffs, screaming solos, and high-pitched vocals (though still lower than Power Metal).

After its arrival on US soil, the NWOBHM changed into Thrash Metal, while many UK based bands kept performing and stayed more or less true to their sound. The NWOBHM was a lot more swinging and sometimes even “poppy”, compared to later Thrash Metal.
", "songlist": [ "Iron Maiden - 2 Minutes To Midnight (Official Video)", "Motörhead - Overkill (Studio Version)", "Lightning To The Nations", "Angel Witch - Angel Witch", "Girlschool - C'mon Lets Go (Official Music Video)", "Blitzkrieg ＂Blitzkrieg＂", "Praying Mantis - Running For Tomorrow", "Raven - Lay Down The Law", "TYGERS OF PAN TANG - Euthanasia - 1980" ], "playlistID": "PLb15rbk6I4pMjPQFH5IHvJyVn4JROZ_nR", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMjPQFH5IHvJyVn4JROZ_nR", "spotify-playlist-link": "https://open.spotify.com/playlist/11OMptmefYyXt0H719AT20?si=lEf08RtwTVKEXeRcngvrmg", "name_zh": "不列颠重金属新浪潮" }, "met06": { "name": "THRASH METAL
鞭挞金属", "year": "1982", "supergenre-first-tag": "METAL", "description": "
NWOBHM对经典金属做了什么，鞭击金属（Thrash Metal）对NWOBHM做了什么。美国乐队受到英国前辈的巨大影响，决定再上一个台阶：音乐变得更加快速，更加重鼓和贝斯（通常涉及双底鼓的鼓组）。华丽/流行金属使金属过于商业化和轻松。鞭击金属就是答案。除了具攻击性的低频riff（有时被恰当地描述为撕碎 shredding），过度活跃的音阶和琶音以及突出的鞭击式鼓点是鞭击金属最可辨识的特征。\n\n总体歌曲长度相比NWOBHM也增加了，为音乐增添了更复杂的歌曲结构。这一流派迅速在其他金属风格中脱颖而出，很快一批乐队升至国际名声，被称为鞭击金属四巨头（Big Four of Thrash Metal）。这些乐队——Metallica、Slayer、Megadeth和Anthrax——帮助将金属传播到全球，从日本到巴西。鞭击金属也展示了一种不那么友好的歌词内容。虚无主义的歌词，通常是关于反体制、正义或战争，金属乐队利用几乎任何事物来强化一种戏剧性的词汇。但像几乎所有金属一样，该流派的鼎盛时期是短暂的，尽管其影响是永恒的。
What the NWOBHM did to Classic Metal, Thrash Metal did to the NWOBHM. American bands became hugely influenced by their British predecessors and decided to take it up another notch: the music became even faster and more drum and bass heavy (often involving a drum kit with two bass drums). Glam/Pop Metal made Metal too commercial and lighthearted. Thrash Metal was the answer. Besides aggressive, low-frequency riffs (which are sometimes fittingly described as “shredding”), hyperactive scales and arpeggios and prominent thrashing drum work are the most recognizable features of Thrash Metal. The overall song length also increases compared to NWOBHM, adding more complex song structures to the music. The genre quickly stood out amongst other Metal styles and soon a number of bands rose to international fame, known as the “Big Four of Thrash Metal”. These Bands - Metallica, Slayer, Megadeth, and Anthrax - helped spread Metal throughout the globe, from Japan to Brazil. Thrash Metal also displays a less friendly form of lyrical content. With nihilistic lyrics, often about anti-establishment, justice or war, Metal bands use just about anything to enforce a theatrical vocabulary. But like almost all Heavy Metal the message is rather cryptic than truly political. By the nineties, Thrash Metal’s popularity faded and a new subgenre “Groove Metal” (aka Groove Rock) came in to light. Groove Metal or Rock focused more on a rhythmic groove than simply bass. Yet Thrash Metal is still among the most widely known Metal genres and like any golden age, never truly dead.
", "songlist": [ "Metallica-Master Of Puppets (Lyrics)", "Skin O' My Teeth (2004 Remastered)", "Anthrax - Madhouse", "Exodus - The Toxic Waltz", "Sodom M - 16", "Kreator - Enemy of God", "Destruction - Nailed to the Cross", "TESTAMENT - Native Blood (OFFICIAL MUSIC VIDEO)", "Sepultura - Ratamahatta [OFFICIAL VIDEO]", "Pantera - Cowboys From Hell (Official Music Video) [4K Remaster]", "Machine Head - Aesthetics Of Hate" ], "playlistID": "PLb15rbk6I4pMSkAOHtHvOLMv2XPq6Isou", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMSkAOHtHvOLMv2XPq6Isou", "spotify-playlist-link": "https://open.spotify.com/playlist/364oPyNYSZLmBaeuqGO152?si=SLUSJ3JVRdOlzbF0fTIhVg", "name_zh": "鞭挞金属" }, "met07": { "name": "EXTREME METAL (BLACK I & SPEED)
极端金属", "year": "1982", "supergenre-first-tag": "METAL", "description": "
极端金属（Extreme Metal）这一术语很少被使用，因为它本身不是一个流派，而是两个晦涩但重要流派的组合：（早期）黑金属（Black Metal）和（真正的）速度金属（Speed Metal）。随着八十年代初英国金属和鞭击金属（Thrash Metal）的爆发，一些乐队意识到了金属所能提供的极端潜力。两种类似的流派成为在常规舒适区之外进行金属实验的产物。少数乐队创造了黑暗、邪恶、有氛围的金属（早期黑金属），而其他人则将鞭击金属的能量和速度推向更高，锻造了速度金属。\n\n有时Speed Metal这一术语被保留给早期鞭击金属，形成一种原初流派，或者简单地作为Thrash的同义词。在最严格的意义上，速度金属比鞭击金属更快、更旋律化。主音吉他手在广泛的精湛独奏中展示极端技艺，比以往任何时候都更快地演奏。然而，第一波黑金属几乎不比速度金属慢。先锋乐队Venom及其立即命名了该流派的处女专辑，奠定了黑金属的基础：失真、噪音、反馈、混沌、尖锐/高音的声音、速度和撒旦主题：一个吸食灵魂的女妖的尖叫。
The term Extreme Metal is rarely being used, as it is not a genre on its own, but a combination of two obscure but important genres: (early) Black Metal and (true) Speed Metal.

With the explosion of British and Thrash Metal in the early eighties, some bands realized the extreme potential Metal had to offer. Two similar genres became the product of experiments with Metal outside the regular comfort zone. A small number of these bands created dark, evil, atmospheric Metal (early Black), while others turned the energy and tempo of Thrash even higher, forging Speed Metal. Sometimes the term Speed Metal is reserved for early Thrash Metal, forming a sort of proto genre, or simply as a synonym for Thrash. In the strictest sense, Speed Metal is faster, and more melodic than Thrash. Lead guitarists display extreme craftsmanship in extensive virtuoso solos, playing ever more rapid than before.

Nevertheless, the first wave of Black Metal is barely slower than Speed Metal. Pioneering band Venom and their debut album that immediately named the genre, laid out Black Metal’s foundations: distortion, noise, feedback, chaos, shrilling/high-pitch sounds, velocity and satanic themes: a succubus screaming in agony. Black Metal marked a pivotal moment in Metal history. Now it was time to make truly evil music, and no longer just pretend to do so.
", "songlist": [ "VENOM - 01-Black Metal", "Bathory - Hades", "Mercyful Fate - Evil (Official Video)", "Celtic Frost - Inner Sanctum (Official Audio)", "Morbid - Disgusting Semla", "HELLHAMMER ⧸⧸ Messiah [1983]", "Slayer - Raining Blood", "Exciter - Violence And Force", "Anvil - 666", "Annihilator - King of the Kill" ], "playlistID": "PLb15rbk6I4pNLbp8MYPEcWWtr9MnKuB_r", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNLbp8MYPEcWWtr9MnKuB_r", "spotify-playlist-link": "https://open.spotify.com/playlist/7aapeygWSOzk8HtbMD12Mt?si=5tEK6ti0Qcu0XPoNxLzRyw", "name_zh": "极端金属" }, "met08": { "name": "DOOM METAL
厄运金属", "year": "1984", "supergenre-first-tag": "METAL", "description": "
经典金属乐队黑色安息日（Black Sabbath）在早期阶段（用他们一些较慢、更不祥的歌曲）为一个不太为人知但有影响力的金属流派奠定了基础：毁灭金属（Doom Metal）。他们音乐中发现的彻底绝望（也可以在哥特摇滚中听到）构成了毁灭金属的关键成分。这是一个听起来正如人们所预期的流派：无望、倦怠和夸张。毁灭金属经常涉及神秘学，无论是在乐队名称、曲目标题、图像还是歌词内容中。歌词通常略微嚎叫，有时带有回声，这再次让人想起黑色安息日。\n\n这是最慢的金属形式，而且它出现在金属似乎只想越来越快的时候（速度金属 Speed Metal）。一些乐队感到有必要提供某种平衡。毁灭金属较慢的速度在超重缓慢的riff之间留下了大量的沉默空间。并非毁灭金属乐队的所有歌曲都是严格的Doom，有些相当快，只是重金属，这将影响斯托纳/泥泞金属（Stoner/Sludge Metal）乐队，作为非过度活跃艺术家的唯一替代方法。沿着这一演变，Doom也会与其他风格交叉，产生了大量子流派如死亡毁灭（Death Doom）、葬礼毁灭（Funeral Doom）和无人机毁灭（Drone Doom）。代表乐队包括Candlemass、Electric Wizard、Sunn O)))以及My Dying Bride。
Classic Metal band Black Sabbath laid at an early stage (with some of their slower, more ominous songs) the foundations for a lesser known but influential Metal genre: Doom Metal. The utter despair found in their music (and which can also be heard in Gothic Rock) forms the key ingredient of Doom Metal. This is a genre that sounds the way one would expect: hopeless, lethargic and bombastic. Doom Metal often deals about the occult, whether in band names, track titles, imagery or lyrical content. The lyrics are often slightly howled, sometimes with echo, which remind again of Black Sabbath. It’s the slowest form of Metal, and one that came around at a time when Metal only seemed to want to go faster and faster (Speed Metal). A number of bands felt the urge to provide some sort of counterbalance. The lower tempo of Doom Metal leaves lots of room for silence between the ultraheavy sluggish riffs. Not all songs by Doom Metal bands are strictly Doom, some are quite fast and simply Heavy Metal, which would influence Stoner/Sludge Metal bands, as the only alternative approach for non-hyperactive artists. Alongside this evolution, Doom would also crossover with other styles resulting in a lot of different subgenres, such as Atmospheric Doom, Funeral Doom, Doom/Death and Dronemetal or Dronedoom. Modern Doom Metal also experiments with electronic techniques, often found in Ambient and Industrial music, which enhance its droning properties.
", "songlist": [ "Saint Vitus - Saint Vitus", "Pentagram - The Ghoul", "Trouble - Psalm 9", "Cathedral - Tower Of Silence OFFICIAL PROMO VIDEO 2013", "Electric Wizard - Dopethrone", "The Obsessed - River of Soul", "Candlemass - Bewitched", "Witchfinder General - Death Penalty", "My Dying Bride - Feel the Misery (from Feel the Misery)" ], "playlistID": "PLb15rbk6I4pNhzfS2eS4iGPddUH3a64OD", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNhzfS2eS4iGPddUH3a64OD", "spotify-playlist-link": "https://open.spotify.com/playlist/2tfTN2nObjQ7TT51jQcXXZ?si=5a5yuY52TjKlKuVarbSBhQ", "name_zh": "厄运金属" }, "met09": { "name": "DEATH METAL
死亡金属", "year": "1986", "supergenre-first-tag": "METAL", "description": "
死亡金属（Death Metal）可以被视为当代金属的主导力量。它与死亡几乎无关（虽然不回避这个话题），因为它听起来比任何东西都更有生命力。形式上类似于鞭击金属（Thrash Metal），但更重、更深，具有更新的失真/效果。伴随着极其深沉的低吼人声（grunts），它是彻底的残酷，演奏方式仿佛艺术家试图摆脱剧烈的痛苦。作为一个拥有多个子流派的庞大流派，几乎可以称之为主流现代金属。然而许多艺术家会反对，因为其趋势之一始终是不断突破界限（远离流行认可），变得更硬、更快、更强、更鲁莽。\n\n第一波（美国）死亡金属在八十年代末，是鞭击金属的更快延续。因为吉他速度变得如此之高，金属鼓手发展了一种特殊的超快速鼓技术，称为爆裂节拍（blast beats）。这一波非常粗糙、未经打磨，几乎没有旋律——几乎是一种野性的金属形式，后来在碾核（Grindcore）的发展中对其产生了强烈影响。第二波（欧洲）死亡金属即旋律死亡金属（Melodic Death Metal）发生在九十年代，主要在斯堪的纳维亚。代表乐队包括Death、Cannibal Corpse、Morbid Angel、At the Gates以及In Flames。
Death Metal can be seen as the leading force in contemporary Metal. It has little to do with death (though the topic isn’t avoided), as it sounds more alive than anything else. In form it is similar to Thrash Metal but heavier, deeper, and with updated distortions/effects. Accompanied by extremely deep growling vocals (grunts), it is downright brutal and performed as if the artists are trying to shrug off intense pain. Being a vast genre with multiple subgenres, it would almost be appropriate to call it mainstream modern Metal. Many artists would disagree though, as one of its tendencies is to always push the boundaries (shifting away from “popular“ approval) and becoming even harder, faster, stronger, and more reckless.

The first (US) wave of Death Metal in the late eighties, was an even faster continuation of Thrash Metal. Because guitar velocity had become so high, Metal drummers developed a special hyper fast drum technique, called “blast beats”. This wave was very rough, unpolished, and with little melody – almost a feral form of Metal, which later strongly influenced Grindcore during its development.

The second (EU) wave of Death Metal aka Melodic Death Metal happened in the nineties and particularly in Sweden, which is why it’s sometimes referred to as (the New Wave of) Swedish Death Metal (NWOSDM). The second wave is a lot more melodic than the first one, with more synth influences and different (sometimes instrumental) passages throughout the music.

Apart from (and overlapping with) these two large waves, Death Metal has numerous subgenres, indicating the versatility and popularity of the genre. The most important ones are the self-explanatory Brutal Death and Tech(nical) Death, alongside crossovers such as Death Doom and Deathcore.
", "songlist": [ "Leprosy", "Deicide - Deicide", "Morbid Angel - Rapture (Official Video)", "Obituary - Insane [OFFICIAL VIDEO]", "Cannibal Corpse - Hammer Smashed Face", "Death Metal", "DARK TRANQUILLITY - Monochromatic Stains (OFFICIAL VIDEO)", "Children of Bodom - Lake Bodom", "In Flames - Swim + LYRICS", "SOILWORK - Rejection Role (OFFICIAL MUSIC VIDEO)", "At The Gates - Slaughter Of The Soul (HQ)", "ARCH ENEMY - Nemesis (OFFICIAL VIDEO)" ], "playlistID": "PLb15rbk6I4pNqCPvHTvdY0lhte7lySMeU", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNqCPvHTvdY0lhte7lySMeU", "spotify-playlist-link": "https://open.spotify.com/playlist/1TJ9n4cRB5WfUobRHwNIXF?si=-dlGV_XvT3GTVbbGBGgZhQ", "name_zh": "死亡金属" }, "met10": { "name": "STONER METAL / ROCK & SLUDGE METAL / ROCK
石人金属/摇滚 & 泥浆金属/摇滚", "year": "1989", "supergenre-first-tag": "METAL", "supergenre-second-tag": [ "slave", "(alternative)" ], "description": "
当太空摇滚（Space Rock，迷幻摇滚的更具金属导向的延续）遇到毁灭金属（Doom Metal）缓慢、行军般且几乎催眠的节奏时，天作之合诞生了：斯托纳金属（Stoner Metal）。斯托纳摇滚或金属在镇静和迷幻药物使用者中获得了巨大的吸引力，这解释了其名称。受（迷幻）药物影响，这种重金属以沉重的缓慢riff和大量失真及（太空感）声音效果为特征。斯托纳歌曲比平常更长，带有重复的旋律性尾奏（就像一种迷幻金属 Trance Metal）。\n\n在八十年代中期，斯托纳与更有活力和更响亮的流派混合，如硬核朋克（Hardcore Punk）和垃圾摇滚（Grunge）。结果是一种非常厚重和迷幻但同时也快速和技术性的声音：一种重型吉他音乐的泥泞混合物，其流行度至今持续增长：泥泞金属（Sludge Metal）。斯托纳和泥泞金属的特征使这些流派成为最具摇滚感的金属类型，这就是为什么它们也被称为Rock或简单地称为Sludge和Stoner以避免任何冲突。Sludge是一条独立的药物影响迷幻重金属谱系中的最新发展：酸性摇滚与经典金属→太空摇滚→毁灭金属→斯托纳金属→泥泞金属。代表乐队包括Kyuss、Sleep、High on Fire、Mastodon以及Baroness。
When Space Rock (a more Metal oriented continuation of Psychedelic Rock) encountered the slow, marching, and almost hypnotizing rhythm of Doom Metal, a match was made in heaven: Stoner Metal. Stoner Rock or Metal received large appeal from sedative and hallucinogenic drug users, which explains its name. Influenced by (psychedelic) drugs, this kind of Heavy Metal featured heavy sluggish riffs and a lot of distortion and (spacey) sound effects. Stoner songs are longer than usual with repetitive melodic outros (like a sort of Trance Metal).

In the mid-eighties, Stoner blends with more energetic and louder genres, such as Hardcore Punk and Grunge. The result is a very thick and psychedelic but also fast and technical sound: a sludge of heavy guitar music, which kept gaining popularity until this day: Sludge Metal. Both Stoner and Sludge Metal’s characteristics make these genres the most Rock-like types of Metal, which is why they’re also called “Rock” or simply Sludge and Stoner to avoid any conflict. Sludge is the latest development in a separate strain of drug-influenced and psychedelic Heavy Metal: Acid Rock & Classic Metal → Space Rock → Doom Metal → Stoner Metal → Sludge Metal.

Many Stoner or Sludge Metal songs are also recognizable by their slow-motion soundwall of interwoven distorted guitar riffs, sounding as if the apocalyptic revelation of an evil god is near.
", "songlist": [ "Monster Magnet - Superjudge", "Kyuss - Demon Cleaner (Official Video)", "Orange Goblin - Shine", "Spirit Caravan - Lost Sun Dance", "Bongzilla- Grim Reefer", "Kylesa - Unspoken (Official Video)", "Crowbar - Planets Collide", "EYEHATEGOD - SOUTHERN DISCOMFORT", "Mastodon - The Motherload [Official Music Video]", "BARONESS - ＂Take My Bones Away＂" ], "playlistID": "PLb15rbk6I4pPU5fpJKgHWfbnab7IxKwDd", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPU5fpJKgHWfbnab7IxKwDd", "spotify-playlist-link": "https://open.spotify.com/playlist/1KUCTfYJ2JtG1WwwhU5cWm?si=pGKLxgGKQfSp_5N9Wd0Qng", "name_zh": "石人金属/摇滚 & 泥浆金属/摇滚" }, "met11": { "name": "BLACK METAL
黑金属", "year": "1991", "supergenre-first-tag": "METAL", "description": "
这里描述的流派实际上是第二波黑金属（Black Metal）。第一波非常晦涩并迅速消失了。挪威——一个寒冷、严酷、无情的国家——成为黑金属的完美滋生地。黑金属可以说是最极端、最不具可及性的金属形式。尽管黑金属比其同时代对应流派更少以打击乐和贝斯为导向，但其混沌、尖叫的恐怖噪音雪崩听起来就像是由魔鬼亲自制造的。高音人声、交响/哥特元素和尖锐、超快的吉他riff使这样的陈述几乎可信。\n\n黑金属始终更多地关乎内容而非音乐本身，试图尽可能撒旦化和反基督教（其许多实践者也是如此）。然而，完全相反的情况也真实存在，以基督教黑金属的形式，表明可能任何可以想象的流派都已经存在。黑金属乐队以其夸张的音乐、撒旦式的名称、精心设计的艺术（通常带有尖锐形状的混沌网络）和厚重的黑白化妆（让人想起华丽金属但更黑暗和严肃）为特征。折磨、痛苦、鲜血和死亡的主题是黑金属的核心。代表乐队包括Mayhem、Burzum、Darkthrone、Emperor以及Immortal。
The genre outlined here is actually the second wave of Black Metal (See: Extreme Metal). The first wave was very obscure and rapidly vanished. Norway, a country of cold, harsh, and unforgiving landscapes, became the perfect breeding ground for Black Metal - arguably the most extreme and least accessible form of metal. Although Black Metal is a less percussion and bass oriented than its contemporary counterparts, its chaotic, screaming avalanche of macabre noise sounds like it was made by the Devil himself. Hi-pitched vocals, symphonic/Gothic elements, and shrill, hyperfast guitar riffs make such a statement almost believable. Black Metal has always been more about the content than the music itself, trying to be as satanic and anti-Christian as possible (and so are many of its practicers). The exact opposite however, is also true, in the form of Christian Black Metal, indicating that probably any genre imaginable already exists.

Black Metal bands are recognizable by their bombastic music, satanic names, elaborate artwork (usually with a chaotic web of sharp forms) and heavy black & white make-up (reminiscent of Glam Metal but much more grim and serious). Themes of torture, pain, blood, and sacrifice occur more than in other Metal genres. Some Black Metal bands became frontpage news by committing acts of murder, violence and desecration, leading to a large amount of indepth Black Metal documentaries about this most evil of music genres.
", "songlist": [ "DIMMU BORGIR - Mourning Palace (LIVE FORCES OF THE NORTHERN NIGHT)", "Gorgoroth - Possessed (by Satan)", "Mayhem - Freezing Moon (HQ)", "Emperor - Inno A Satana", "Immortal - Call Of The Wintermoon", "Satyricon - The Pentagram Burns", "Burzum - Dunkelheit", "Tormentor - Elizabeth Bathory", "Darkthrone - Transilvanian Hunger (Official Music Video)" ], "playlistID": "PLb15rbk6I4pMalt2Y5QFV4XNSh9hijOqo", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMalt2Y5QFV4XNSh9hijOqo", "spotify-playlist-link": "https://open.spotify.com/playlist/0I8A6yjYog4c39oqmz1ppk?si=H7rai3xtRh672RubbVShwQ", "name_zh": "黑金属" }, "met12": { "name": "SYMPHONIC METAL & GOTHIC METAL
交响金属 & 哥特金属", "year": "1990", "supergenre-first-tag": "METAL", "supergenre-second-tag": [ "slave", "(industrial)" ], "description": "
最终，哥特摇滚（Gothic Rock）忧郁、萦绕的声音找到了通向重金属的道路（毁灭金属与经典金属的共同点比与哥特摇滚更多）。其他金属的能量和野性与哥特不兼容，但更慢、更黑暗的毁灭/斯托纳金属几乎是原初哥特金属（Proto Gothic Metal）。然而，真正的哥特金属只是一个非常小的流派，因为金属和哥特的结合是脆弱的平衡，迅速转变为暗潮（Darkwave）或其他非哥特的东西。\n\n一个更稳定和持久的流派是通过用古典音乐（交响金属 Symphonic Metal）和专业歌手（女高音、男高音等）交换合成器声音而实现的。结果是混沌、浪漫和迷人的金属，但带有黑暗、绝望和残酷的底色（毁灭遇见死亡），使其也适合被称为哥特金属。因此，不建议分离这些流派，因为它们共享太多重叠。哥特金属以使用女性乐队领袖/主唱而闻名，使该流派可以说是所有金属流派中最不具男性气概的。代表乐队包括Nightwish、Within Temptation、Epica、Lacuna Coil以及Type O Negative。
Eventually the melancholic, haunting sounds of Gothic Rock found their way to heavy metal (Doom Metal has more in common with Classic Metal than Gothic Rock). The energy and wildness of other Metal was incompatible with Goth, but the much slower, darker Doom / Stoner Metal was almost proto Gothic Metal. True Gothic Metal is only a very small genre though, because the combination of Metal and Gothic is a precariously balanced one, quickly turning into Darkwave or something not Gothic. A more stable and durable genre was achieved by trading the synth sound for classical music (Symphonic Metal) with professional singers (sopranos, tenors…). The outcome is chaotic, romantic and mesmerizing Metal, but with a dark, despairing and brutal undertone (Doom meets Death) which made it appropriate to be also called Gothic Metal. Therefore it is advisable not to separate these genres as they share too much overlapping. Gothic Metal is known for the use of female band leaders/vocalists which makes the genre arguably the least macho of all Metal genres. With melancholic or poetic themes, usually embedded in an extremely escapist fantasy world of angels, elves and crystalline beauty, Gothic Metal could come straight out of The Lord of the Rings or a mythical role playing computer game. Heavy Metal has a number of very popular subgenres related to Gothic Metal, which also dwell on fantasy worlds (but this time of dwarves, druids and Vikings) like Folk Metal and Viking Metal.
", "songlist": [ "Tristania Beyond The Veil", "Theatre of Tragedy - Lorelei", "Nightwish - Wish I Had An Angel (OFFICIAL VIDEO)", "Paradise Lost - As I Die ｜ Official Music Video", "Type O Negative - My Girlfriend's Girlfriend [OFFICIAL VIDEO]", "TIAMAT - Brighter Than The Sun (OFFICIAL VIDEO)", "Therion - Rise Of Sodom And Gomorrah", "LACUNA COIL - Heavens A Lie (OFFICIAL VIDEO)", "Within Temptation - Ice Queen", "THE SINS OF THY BELOVED - FOREVER" ], "playlistID": "PLb15rbk6I4pNehpt-oVYOODPKwSrCFeTU", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNehpt-oVYOODPKwSrCFeTU", "spotify-playlist-link": "https://open.spotify.com/playlist/73RwDTCQCB5Bc8oPtIQkqY?si=JTKoPFtkSraeWXxgQV-mEw", "name_zh": "交响金属 & 哥特金属" }, "met13": { "name": "NU METAL & RAP METAL
新金属 & 说唱金属", "year": "1995", "supergenre-first-tag": "METAL", "supergenre-second-tag": [ "slave", "(alternative)" ], "description": "
斯堪的纳维亚风格的金属（黑金属主要在挪威/死亡金属主要在瑞典/哥特金属主要在芬兰）将在未来几年改变金属音乐产业，但也会将其拉向更地下。一个新的主流、流行流派注定要出现，因为同样的（恐龙）鞭击金属和经典金属乐队一遍又一遍地占据舞台。当时最重的流派（死亡金属、工业金属和金属核）都被扔进了一个折衷混合中，但主要是律动金属（Groove Metal）和说唱摇滚（Rap Rock）构成了新金属（Nu Metal）的基础。\n\n这些流派距离将说唱或碎拍（Breakbeat）元素融入金属只有一小步。结果是一个不可能失败的配方，因为它是说唱、摇滚和金属的三合一。确实，新金属有许多说唱元素，但金属元素很少：降调riff、碎拍、搓碟（scratching）、强调底鼓，最明显的是没有吉他独奏，尽管该流派不乏沉重的贝斯或攻击性。新金属与说唱金属（Rap Metal）之间的区别相当可忽略；后者保留给明确包含说唱歌词的歌曲，尽管两者都受到说唱摇滚的强烈影响。新金属常与Emo关联，因为关于挫折和抑郁的尖锐歌词与青少年产生共鸣。代表乐队包括Korn、Limp Bizkit、Linkin Park、Slipknot以及System of a Down。
The Scandinavian styles of Metal (Black, mainly Norway / Death, mainly Sweden / Gothic, mainly Finland) would change the Metal music industry for years to come, but also pull it more underground. A new mainstream, popular genre was bound to emerge, as the same (dinosaur) Thrash and Classic Metal bands kept filling stages over and over again. The heaviest genres of the time (Death, Industrial Metal and Metalcore) were all thrown into an eclectic mix, but mostly Groove Metal and Rap Rock formed the basis for Nu Metal. These genres were only a small step away from fusing Rap or Breakbeat elements into Metal. The outcome was a recipe that could not fail because it was Rap, Rock, and Metal all-in-one. Indeed, “New Metal” had many Rap and few Metal elements: downtuned riffs, breakbeats, scratching, emphasis on kick drums and most noticeably no guitar solos, though the genre lacked no heavy bass or aggressiveness. The difference between Nu Metal and Rap Metal is rather negligible; the latter is reserved for songs which explicitly feature Rap lyrics, though they are both heavily influenced by Rap Rock.

Nu Metal is often linked to Emo(core), as piercing lyrics about frustration and depression (self-mutilation, suicide, abuse, etc.) find its way into the heart of adolescents through melancholic choruses; a very distinctive rupture with previous Metal genres. Fashion is another topic where Nu Metal breaks the rules, with a bizarre mix of Emo and Metal styles and some marginal extravaganza. All these elements contribute to a living paradigm of disturbance: psychosis in sound and flesh.
", "songlist": [ "Limp Bizkit - Nookie (Official Music Video)", "Korn - Falling Away From Me (Official Video)", "Slipknot - Wait and Bleed [OFFICIAL VIDEO] [HD]", "System Of A Down - Chop Suey! (Official HD Video)", "Deftones - My Own Summer (Official Music Video) [HD Remaster]", "In The End [Official HD Music Video] - Linkin Park", "Papa Roach - Last Resort (Squeaky Clean Version) (Official Music Video)", "Biohazard - Tales From The Hard Side (Official Video)", "Mudvayne - Forget to Remember (Official Video)", "Coal Chamber - Loco [OFFICIAL VIDEO]", "P.O.D. - Youth Of The Nation" ], "playlistID": "PLb15rbk6I4pMIuxbdBMmO9wUFoUDaTxTU", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMIuxbdBMmO9wUFoUDaTxTU", "spotify-playlist-link": "https://open.spotify.com/playlist/3ezyP4yhCdUogl8iWuyl5H?si=JTq3RJvrTVKylVx0wygJKQ", "name_zh": "新金属 & 说唱金属" }, "rnr01": { "name": "SKIFFLE (REVIVAL)
噪音爵士复兴", "year": "1949", "supergenre-first-tag": "ROCK 'N' ROLL", "supergenre-second-tag": [ "master", "POP" ], "description": "
斯基弗（Skiffle）可能是流行音乐史上最不可能的火花之一——一种基于廉价、自制乐器的简陋民谣爵士形式。以洗衣板、卡祖笛、茶箱贝斯和其他找到的物品为特征，斯基弗是一种DIY的声音——粗暴、原始和充满感染力的活力。然而，它至关重要，因为在五十年代的英国，斯基弗将整整一代工人阶级青少年转变为活跃的音乐家。\n\n受美国民谣艺术家如 Lead Belly 的影响深远——因此也被称为\"美国斯基弗\"——这种音乐一脚踏在民谣，一脚踏在蓝调和爵士中。斯基弗是美国流行音乐与英国流行音乐之间的桥梁。五十年代英国的斯基弗复兴——以 Lonnie Donegan 为最大明星——变得出人意料地流行。斯基弗催生了英国摇滚乐——The Beatles 作为 The Quarrymen 最初就是一个斯基弗乐队；几乎所有伟大的英国摇滚音乐家都是从这些简陋洗衣板开始的。
Skiffle is one of the oldest popular music genres. Emerging in the twenties in the United States, early Skiffle can be seen as a Folk influenced form of Proto-Country; just like Ragtime can be seen as Proto-Jazz and Gospel as Proto R&B. Skiffle was music for the poorest of people, who created a true jack-of-all-trades musical melting pot with whatever instrument they could lay their hands on, as long as it was cheap: fiddle, banjo, kanzoo, and household items such as washboards. The biggest challenge was an inexpensive alternative for bass, which they found in large jugs. Jug Bands (actually a synonym for early Skiffle) even had to throw pop-up homeparties to pay the rent and their instruments, which were called “Skiffles”.

From 1949 until 1958 a Skiffle Revival takes place in the United Kingdom, parallel to the rise of early Rhythm ‘n’ Blues and Rock ‘n’ Roll. Because Britain lacked the history of Country music, almost all musicians struggled with creating Rock ‘n’ Roll music, as they had no access to a quintessential ingredient. In response to American R’n’R, poor British students responded with a type of Folk-Blues-Rock, that was very loud, fast and noisy. They used the same instruments as older American Jug Bands alongside cheap acoustic guitars. But by 1958, Rock ‘n’ Roll became so big, that Skiffle quickly decayed.
", "songlist": [ "The Vipers Skiffle Group - Don`t You Rock Me Daddy-O ( 1957 )", "Lonnie Donegan - Puttin On The Style (1957)", "Ken Colyer Skiffle Group - Down Bound Train", "City Ramblers Skiffle Group - Mama Don't Allow", "Streamline Train", "Flash, Bang, Wallop" ], "playlistID": "PLb15rbk6I4pPcYTsHSis8WzLZkF53phz0", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPcYTsHSis8WzLZkF53phz0", "spotify-playlist-link": "https://open.spotify.com/playlist/2KFbDFEUNSeA9JVJCxjClU?si=St0OCQJKRpm0PvnYr85NKA", "name_zh": "噪音爵士复兴" }, "rnr02": { "name": "ROCK 'N ROLL & ROCKABILLY
摇滚 & 山地摇滚", "year": "1953", "supergenre-first-tag": "ROCK 'N' ROLL", "supergenre-second-tag": [ "slave", "(country)" ], "description": "
摇滚乐（Rock 'n' Roll）和山地摇滚（Rockabilly）不只是音乐——它们是青少年文化本身的发明。在五十年代，整整一代美国青少年拥有了自己的音乐，与前一代截然不同。摇滚乐是一个混合体——白人的乡村音乐和黑人的节奏蓝调碰撞在一起，产生了不是两者但属于两者的音乐。\n\n像 Chuck Berry、Little Richard 和 Elvis Presley 这样的艺术家定义了早期的声音。Berry 引入了他著名的双音弯音吉他连复段和关于青少年生活的歌词——汽车、女孩和学校。Little Richard 带来了无法抑制的表演能量。Elvis 将黑人音乐的性感与白人的可接受性结合，引爆了整个现象。山地摇滚——其南方对应物（主要在田纳西州）——在同样的配方中添加了更多乡村色彩。摇滚乐是第一个取代其他流派的流行音乐流派——几乎所有黄金老歌之后的音乐都源于摇滚乐。它定义了流行音乐文化，是二十世纪最重要的发明之一。
Rock ‘n’ Roll was musically speaking not a great step forward; its origins in Boogie Woogie and R&B were obvious. It was mainly a racial thing: young, attractive, white singers bringing black music into the living rooms of white people (especially girls), and turning heads by shaking their pelvis and/or standing on pianos. At the same time, Hillbilly Country musicians became influenced by early Country Blues and created uptempo Country with a strong beat, slapped upright bass, and stuttering vocals: Rockabilly. Both genres, as well as some Country music, originated on the famous Sun Records label in Memphis. Rock ‘n’ Roll often overlaps with Rockabilly’s simple, uptempo blues with three chords, a boogie back beat, and the holy instrument trinity of rock: drums, guitar and bass. As one can see, early Rock ‘n’ Roll was difficult to separate from early Rhythm ‘n’ Blues. However, the often overlooked effect of amphetamine (used heavily by many Rock ‘n’ Roll stars) changed the sound into the sociocultural revolution that it was: with their trembling voices, exuberant behavior, unbridled energy, and sexual innuendo, they introduced something new, something unheard of and “bad to the bone”. The later “mod” subculture of the fifties (sometimes mistaken for a music genre), were also very drawn into a similar world of bikes, speed, and rock ‘n’ roll. White teens went crazy around the world and soon Rock ‘n’ Roll became so popular that the term was used for anything rebellious, and often Rock music in general.
", "songlist": [ "Jerry Lee Lewis - Great Balls of Fire", "Carl Perkins - Blue suede shoes", "Sammy Masters - Pink Cadillac", "Wanda Jackson - Fujiyama Mama", "Rocket 88", "[We're Gonna] Rock Around The Clock" ], "playlistID": "PLb15rbk6I4pMcrNzTXkPrBxSMresUFEjI", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMcrNzTXkPrBxSMresUFEjI", "spotify-playlist-link": "https://open.spotify.com/playlist/741XRGGVQfWUBGWFFAUI4i?si=Pnq7WH0NRFyxldkxefMtWw", "name_zh": "摇滚 & 山地摇滚" }, "rnr03": { "name": "AMERICAN & BRITISH FOLK REVIVAL
美英民谣复兴", "year": "1957", "supergenre-first-tag": "ROCK 'N' ROLL", "description": "
传统民谣音乐与美国主流音乐产业的结合是一个成功的配方。四十年代的美国民谣复兴和五十年代的英国民谣复兴催生了一个新的流派：民谣摇滚。主要的民谣复兴是四十年代的美国现象——年轻一代重新发现了自己的传统音乐，从中诞生了一种反文化。\n\n像 Woody Guthrie 和 Pete Seeger 这样的美国民谣复兴艺术家创作了抗议歌曲——这是一种关于社会正义、工人权利和和平的音乐，为后来六十年代更大规模的反文化奠定了基础。美国复兴将民谣音乐理想化为代表普通劳动人民的纯粹原声音乐。英国民谣复兴同样将民谣音乐理想化，但偏爱更传统的民谣，注重精湛的器乐演奏。两者共同重新塑造了民谣——曾经是一种保守的传统音乐——变成一种进步、政治性的音乐形式。
Folk music is as old as the people (= the folk) themselves, but got suppressed by the popularity of Blues, Jazz, and R&B. A first revival during the thirties as the voice of protest for lower class folk remained too small to have any impact, yet led to the Archive of American Folk Song in 1928.

The second, post-war revival was much larger and happened both in the UK and US. The arrival of Rock opened the door for college students and bohemians to pick up a guitar and start writing folk-like protest songs (often individually, making them the first singer-songwriters). Folk Revival songs are long and stretched with a distinctive chorus. They have a classic song structure, without much experimentation or noticeable elements (such as solos). Most Folk revival artists cared little about whether or not they had any musical talent: many of them could barely sing or play harmonica. It was simple, soft, acoustic rock that obviously was more about the message than the music: anti-war, civil rights, class differences, racism and the capitalism of freshly invented Pop Music.

New York especially became the central hub for Folk Revival, with an extensive coffee bar culture. Folk revivalists were known for their leftwing ideals and multicultural stance and thereby integrated American black rhythms (Soul, Blues, R&B) with European Folk.
", "songlist": [ "Donna Donna", "The Weavers - Goodnight Irene", "The Kingston Trio - Tom Dooley - 1958", "If I Had a Hammer (Hammer Song)", "Peter, Paul and Mary - Blowing in the Wind", "Tennessee Ernie Ford - 16 Tons", "Martin Carthy - The Queen Of Hearts", "Freedom Come All Ye sung by Hamish Henderson" ], "playlistID": "PLb15rbk6I4pPV_61oT5-PdlUM6-dZgM6V", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPV_61oT5-PdlUM6-dZgM6V", "spotify-playlist-link": "https://open.spotify.com/playlist/3lzGsBInFOitgzXWva7xDz?si=ye2pmvdTQrG-9XatNSmLbA", "name_zh": "美英民谣复兴" }, "rnr04": { "name": "SURF ROCK / INSTRUMENTAL
冲浪摇滚 / 器乐摇滚", "year": "1958", "supergenre-first-tag": "ROCK 'N' ROLL", "description": "
冲浪摇滚/器乐摇滚（Surf Rock / Instrumental）——一个没有人当真的小现象，除了加利福尼亚的年轻人——他们爱上了电吉他的纯器乐声音。冲浪摇滚正如你想象的那样：为冲浪而生的音乐。其典型的狂热、大量混响的吉他风格和快节奏，完美模拟了冲浪的刺激与危险。\n\n作为完全的器乐，吉他连复段、和声结构和节奏部分比演唱重要得多——以至于冲浪摇滚是第一个吉他连复段比歌词或演唱更重要的音乐流派。Dick Dale——\"冲浪吉他之王\"——完善了那种快速、断奏的弹奏，这成为了冲浪摇滚的标志。电吉他被用来模仿海洋和海鸥的声音（\"滑音跳水\"）。Hot Rod音乐（也称 Drag）是同一流派的汽车主题版本，后来被 The Beach Boys——冲浪摇滚最著名的代表——推广。
The sun, the beach, palm trees, and a carefree (“mellow”) life style were the perfect atmosphere for surf boys to retreat in the shack to work on their guitar technique. With incredibly fast, rolling guitar riffs put in reverb, they created a washing sound that could easily imitate ocean waves and impress girls in that true Rock ‘n’ Roll heritage. Almost all Surf Rock is purely instrumental (hence the synonym Instrumental) and this draws even more attention towards the proficiency of its guitarists. Non-instrumental genres were often much slower and less technical, but also very popular, such as Sunshine Pop and California Sound. Pure Surf Rock with lyrics is called Surf Pop, of which the Beach Boys are by far the most well-known exponent.

Surf Rock features standard 4/4 Rock ‘n’ Roll riffs, yet spiced up by influences from Cuban malagueña songs (a type of Salsa). This made them so fast, catchy and addictive that everyone wanted to play them. Covering Surf Rock tunes from other bands was so common and tolerated, that eventually nobody knew anymore who actually made the original. This was non-commercial, DIY, fun music in its purest form, which sadly became almost completely extinct, because almost all bands cared too little for professional distribution or promotion of their music.
", "songlist": [ "Dick Dale & The Del Tones ＂Misirlou＂ 1963", "Surfaris - Wipe Out", "Beach Boys - Surfin Usa HD", "The Ventures ＂Walk Don't Run＂", "Link Wray - Rumble [HQ - Best Version]", "F.B.I. (Mono) (2004 Remaster)", "The Chantays - Pipeline", "Out of Limits", "The Revelaires - Peter Gunn", "The Revels Comanche", "The Champs ＂Tequila＂" ], "playlistID": "PLb15rbk6I4pPsFc32bNtRmjDv4xQMy15w", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPsFc32bNtRmjDv4xQMy15w", "spotify-playlist-link": "https://open.spotify.com/playlist/47oqa9MRwYi5VJTB58fLdw?si=uUc7NPaoQYuuz8dFiufDLg", "name_zh": "冲浪摇滚 / 器乐摇滚" }, "rnr05": { "name": "GARAGE ROCK
车库摇滚", "year": "1960", "supergenre-first-tag": "ROCK 'N' ROLL", "description": "
六十年代的共识是：摇滚乐幼稚，流行音乐太商业化。远离传统音乐产业的新狂热车库乐队的发现，承诺了一种原始、清教徒式的叛逆摇滚乐——不讲废话。实际上，这些通常焦虑、有时马虎的乐队绝不专业，听起来非常粗糙和尖锐。然而，这正是车库摇滚（Garage Rock）的魅力所在：它是精致流行的解药。原始的声音，充满错误，却由叛逆青春的能量推动。\n\n这种充满活力、原始且常常失真的声音后来以重大的方式影响了朋克摇滚。像 The Sonics 和 The Kingsmen 这样的乐队是无名英雄。The Kingsmen 对《Louie Louie》的模糊、难以分辨的翻唱版本成为了一种标准。和冲浪摇滚一样，演唱不是最重要的特征。在六十年代，\"朋克摇滚\"一词有时被用作车库摇滚的同义词——这发生在朋克摇滚建立自己作为独立流派之前。\"车库摇滚\"一词本身就源于这些乐队的业余性质，他们通常在家庭车库里排练。
Rockabilly died almost as abruptly as it emerged when its main icons were either dead, in jail or in the army. Rock was not dead however; countless ambitious teens (mostly in the UK) got hooked on the sound and started forming their own Rock bands. More often than not, they rehearsed in the garages of their parents. The result was a very raw, amateur, lo-fi sound of Rock ‘n’ Roll and the first experiments with distorted guitars. Garage Rock is a genre where the “fuzz” distortion effect is used intensively (which makes the guitars sound fuzzy) and it helped spread “the Fuzz sound” across other genres. Such dirty distortion fits nicely with Garage Rock’s recurring content of anger and frustration about dealing with heartbreak, cheating and other negative love experiences. Although positive love madness could just as well be an inspiration. Because most Garage Rock musicians couldn’t afford decent audio equipment, there was often no budget for voice amplification, resulting in wailing, screaming singers. It wasn’t until the great British Invasion of the mid sixties that Garage Rock truly broke loose, with even more bands and crossovers to Psychedelic Rock as a result. As Garage Rock shares lots of overlapping with Psy Rock, the conjoining term Garage-Psych was conceived and later also included Shoegaze.

Garage Rock’s big teenage rebellious attitude and sound inspired Punk Rock itself, as well as contemporary artists who felt a revival was well deserved. After all, Garage Rock is the embodiment of sleaziness, roughness, and Rock’s nonchalance in all its galore.
", "songlist": [ "Have Love Will Travel", "The Castaways - Liar Liar (1965)", "The Wailers - Hang Up", "The Kingsmen - Louie Louie", "Get Me to the World on Time", "You're Gonna Miss Me - Original", "Stop Cheating on Me (Previously Unissued)", "Paul Revere & The Raiders - Hungry (Audio)", "The Count Five - Psychotic Reaction", "The Seeds - Pushin' Too Hard !", "Shadows Of Knight - Gloria" ], "playlistID": "PLb15rbk6I4pPvxy_1OXO1xEqKzVpoyL6c", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPvxy_1OXO1xEqKzVpoyL6c", "spotify-playlist-link": "https://open.spotify.com/playlist/1zXfEDuDsb251qIawettqU?si=G50fd1DrQD-fnbK7d7p7Hw", "name_zh": "车库摇滚" }, "gld01": { "name": "(MERSEY)BEAT / BRITISH INVASION
默西节拍 / 英伦入侵", "year": "1963", "supergenre-first-tag": "GOLDEN AGE", "description": "
在伦敦早期的摇滚乐场景更关注蓝调的同时，利物浦这座城市对制作精巧的音乐（点唱机音乐）如摩城（Motown）产生了兴趣。由于利物浦是一个远洋客轮频繁往来的大型港口城市，当地音乐场景比大多数英国城镇更紧密地与美国R&B相连。过了一段时间，当地的演唱组合（年轻热切的摇滚乐队）开始创造一种新型摇滚乐——带有强劲的反拍节奏和复调人声：摩城与摇滚乐（R'n'R）的混合体。因此，他们的歌曲有时柔软流行、带有弦乐和明显的灵魂乐影响，有时又非常快节奏和摇摆。\n\n默西节拍（Mersey Beat，以利物浦的默西河命名）或简称节拍（Beat），是摇滚乐的第二次伟大革命。最值得注意的是披头士乐队（The Beatles），他们赢得了英国和美国每一位青少年的心，起初看起来像一支规矩的男孩乐队，但后来彻底革新了声音录制。受其巨大成功——一场真正的狂热——的启发，许多英国默西节拍乐队横跨大洋入侵美国，成为摇滚明星，尽管真正成功的寥寥无几。这一现象及该流派本身，自此被称为英伦入侵（British Invasion）。
Where the early London Rock scene was more concerned with Blues, the city of Liverpool took interest in cleverly produced music (jukebox music) such as Motown. Because Liverpool was a large harbor city frequented by ocean liners, the local music scene was more connected to American R&B than most British towns. After a while, local vocal groups (young eager Rock bands) started creating a new type of Rock with a strong backbeat rhythm and polyphonic vocals: a mix of Motown & R’n’R. As a result, their songs were sometimes soft and poppy with strings and obvious Soul influences, and at other times very uptempo and swinging.

Mersey Beat (called after the river Mersey in Liverpool) or simply ‘Beat’ was the great second revolution of Rock. Most noteworthy are The Beatles, who won the hearts of every teen in the UK and America, and who started out as a seemingly upright boysband but later revolutionized sound recording. Inspired by their huge success - a true mania - many British Mersey Beat bands took the journey across the ocean to invade America and become Rock stars, though few actually succeeded. This phenomenon and the genre itself, is since known as the British Invasion (though British Blues Rock was also a part of this invasion).

A particular subcultural phenomenon closely related to Mersey Beat, is the British Mod scene of the fifties and the sixties. Young rebellious biker boys were united in their stance against conformist Rock and preferred a blend of sped up Rock ‘n’ Roll and Motown. This eventually led to Beat Music (aka Merseybeat) and later to the New Romantics and even Britpop. With their speakers always on max volume and a healthy diet of pep pills, they were the vanguard of a new era of Rock – a Golden Age of guitars and soundwaves.
", "songlist": [ "The Beatles - The Beatles - Hey Jude (Official Music Video) [Remastered 2015]", "The Animals - House of the Rising Sun (1964) High Quality [HQ].flv", "Gerry & The Pacemakers - Ferry Cross The Mersey (1965)", "The Kinks - Waterloo Sunset (Official Audio)", "Itchycoo Park", "Billy J Kramer & The Dakotas - Bad To Me", "Manfred Mann - Do Wah Diddy Diddy", "The Zombies ~ She's Not There (1964)" ], "playlistID": "PLb15rbk6I4pM4DwAU7b5l48oGZKILmIic", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM4DwAU7b5l48oGZKILmIic", "spotify-playlist-link": "https://open.spotify.com/playlist/0SVfCItmO2ZwNpcMbAvPhN?si=ELgvjasAT3izjwN12rdBFA", "name_zh": "默西节拍 / 英伦入侵" }, "gld02": { "name": "FOLK ROCK
民谣摇滚", "year": "1965", "supergenre-first-tag": "GOLDEN AGE", "description": "
英伦入侵（British Invasion）给整个音乐产业投下了冲击波，在英国几乎不可能被忽视。即使是与世隔绝的民谣社群也对强劲的反拍和朗朗上口的吉他hook产生了兴趣。先驱乐队飞鸟乐队（The Byrds）发起了这一演变，最初作为一支纯粹的民谣乐队起步，但带动了许多其他人卷入一场真正的民谣摇滚（Folk Rock）热潮。通过签约唱片公司（从而走上商业化道路），民谣摇滚艺术家的（抗议）信息和反思故事能够触及比以往更广泛的受众。对于那些相信故事重于声音的艺术家来说，这是一个吸引人的想法。但这以牺牲实验性为代价：歌曲相当传统和简单。此外，理想主义但过于天真的世界观也未能帮助赢得大量对这种朝向摇滚新方向不感兴趣的粉丝。\n\n民谣摇滚与之前的民谣复兴不同之处在于，乐队中使用电吉他和十二弦吉他以及人声和声。民谣摇滚与乡村摇滚（Country Rock）有显著的重叠，因为两种流派都是从原声吉他流派跨界到电吉他摇滚的产物。
The British Invasion casted a shockwave throughout music industry and was practically impossible to ignore in the UK. Even the secluded folk communities took an interest in the strong backbeat and catchy guitar hooks. Pioneering band the Byrds initiated this evolution, starting out as a pure Folk band but dragging along many others in a real Folk Rock hype. By signing up with record labels (and thus going the “commercial” path) the (protest) messages and reflective stories of Folk Rock artists could reach a much larger audience than before. An appealing thought for artists who believed in the importance of story over sound. This came at the expense of experimentation: the songs were pretty conventional and simple. On top of that, an idealistic but too naïve world view didn’t help either to win over a large amount of fans who weren’t keen on this new direction towards Rock.

Folk Rock differs from the previous Folk Revivals in the use of electric, 12-string guitars and vocal harmonies in bands. There is a significant amount of overlap with Country Rock, as both genres are crossovers from acoustic guitar genres into electric guitar Rock.
", "songlist": [ "Bob Dylan - The Times They Are A-Changin' (Official Audio)", "The Byrds - Mr. Tambourine Man", "Lovin' Spoonful - Daydream", "Happy Together - The Turtles (1967)", "Sunshine Superman- Donovan", "Paul Simon – 50 Ways To Leave Your Lover", "California Dreamin'", "Our House", "Who Knows Where The Time Goes？" ], "playlistID": "PLb15rbk6I4pNHQ4Wt-GIlwR9m8EIzYuCa", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNHQ4Wt-GIlwR9m8EIzYuCa", "spotify-playlist-link": "https://open.spotify.com/playlist/4josRfmaaWiNnckPzGczMP?si=DpAvW_xoSbO_QvRKw7_dWQ", "name_zh": "民谣摇滚" }, "gld03": { "name": "PSYCHEDELIC ROCK / ACID ROCK & PSYCHEDELIA
迷幻摇滚 / 酸性摇滚 & 迷幻乐", "year": "1965", "supergenre-first-tag": "GOLDEN AGE", "description": "
六十年代标志着二战后一个充满希望、重建、爱与和平的新时代。庞大的精神嬉皮士亚文化在许多地方蓬勃发展，尤其是那些拥有大量学生人口的地方。其中最主要的是旧金山著名的海特-阿什伯里区（Height Ashbury），那里的人们相应地头上戴着花。这些年轻嬉皮士受到东方文化和音乐（特别是印度拉格（Raga）音乐家拉维·香卡（Ravi Shankar）的作品）、自由爵士（Free Jazz）的结构和实验性质，以及（当然）无数迷幻药物的启发。特别是LSD——以其生动多彩的幻觉——逐渐征服了他们的日常生活。LSD（或称acid）被另类心理学家和认识论导师如蒂莫西·利里（Timothy Leary）和奥尔德斯·赫胥黎（Aldous Huxley）大力推广。\n\n所有这些不同的灵感被施加在当时流行的大学音乐上：民谣复兴、默西节拍，以及主要是车库摇滚（Garage Rock），创造出带有迷幻声音效果的自由形式、异国情调的摇滚乐。哈蒙德风琴（Hammond Organ）那典型的温暖模糊音色也是迷幻摇滚（Psychedelic/Psy Rock）的常客。由于其高度的实验性质和对药物与和平友好的倾向，迷幻摇滚迅速成为嬉皮士运动的声音，并以1969年传奇的伍德斯托克音乐节（Woodstock）为巅峰。吉他独奏变得更长、更抽象、更沉浸，录音室变成实验室，乐队探索反向录音、磁带循环和早期合成器等技术。
The sixties marked a new age of hope, reconstruction, love and peace after the aftershocks of World War II. A huge spiritual hippie subculture flourished in many places, especially those with a large student population. The principal among them was the famous Height Ashbury district in San Francisco, where accordingly people wore “flowers in their hair”. These young hippies were inspired by eastern cultures and music (particularly the works of Indian Raga musician Ravi Shankar), the structure and experimental nature of Free Jazz, and (of course) countless psychedelic drugs. Especially LSD with its vivid and colorful hallucinations slowly conquered their daily lives. LSD (or acid) was strongly promoted by alternative psychologists and epistemological gurus like Timothy Leary and Aldous Huxley.

All these different inspirations were set loose upon the popular college music of the time: Folk Revival, Mersey Beat, and mostly Garage Rock, to create freeform, exotic Rock music with psychedelic sound effects. The stereotypical warm and fuzzy sound of Hammond organs is no stranger to Psychedelic (or Psy) Rock as well. Because of its highly experimental nature and drug-and-peace-friendly appeal, many subgenres saw the light and were conjoined under the tag “Psychedelia”. Multiple revivals in the coming decades, such as the Paisley Underground and Neo-Psychedelia, are proof of the vastness and popularity of this genre. Within the large treasure chest of Psychedelia, countless rare gems can be found, made by a flood of unknown artists, sometimes even impossible to find on the internet.

The power of the countercultural movement and Psychedelic Rock was strongly felt in a large social gathering in 1967, known as the (first) “Summer of Love”, but the height came in the form of Woodstock in 1969: one of the largest festivals of all time and a symbol of connection in mind and spirit between all countercultural attendees, but also a turning point for Rock music in general. The hippie tidal wave became too big, and finally broke.
", "songlist": [ "Jefferson Airplane - Somebody to love", "The Jimi Hendrix Experience - All Along The Watchtower (Official Audio)", "Grateful Dead - Scarlet Begonias (Studio Version)", "The Yardbirds - Happenings Ten Years Time Ago (1966)", "Country Joe & The Fish ＂Not So Sweet Martha Lorraine＂", "The Doors - Strange Days", "Fire", "Strawberry Alarm Clock - Incense and Peppermints" ], "playlistID": "PLb15rbk6I4pPZDFwwx-DWP7GVG0rtJY8-", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPZDFwwx-DWP7GVG0rtJY8-", "spotify-playlist-link": "https://open.spotify.com/playlist/5i1Yi9vDEQl0qK6lE4G6E7?si=T5bUaW9TR1C8ypCJm4QCKw", "name_zh": "迷幻摇滚 / 酸性摇滚 & 迷幻乐" }, "gld04": { "name": "HARD ROCK
硬摇滚", "year": "1968", "supergenre-first-tag": "GOLDEN AGE", "description": "
在英国，许多音乐流派被重塑为一个更粗糙的英式版本。同样的事情在六十年代末发生在蓝调摇滚（Blues Rock）上，它被重塑成硬摇滚（Hard Rock）。这与六十年代英国海盗电台的关闭同时发生。关闭后获得补贴的广播电台偏好流行摇滚和软摇滚，为更重、更另类的音乐创造了空白。硬摇滚以一种更响亮、更快的蓝调摇滚/酸性摇滚填补了这一空白，因此它是这些流派与重金属（Heavy Metal）之间缺失的一环。这一流派迅速被大众接受。毕竟，它是第一个重型音乐流派，或者至少是当时最重的。\n\n硬摇滚使用与基本经典摇滚相同的乐器配置，但吉他上有更多的失真，歌曲结构简单。硬摇滚还引入了摇滚乐最精髓的元素之一：Riff（连复段）。Riff是短小独特的旋律，通常重复出现，是许多摇滚圣歌可辨识的标志。充满睾丸激素的硬摇滚是一件大男子主义的事情——无论你是摩托车手、穿皮衣的摇滚明星，还是仅仅是叛逆法外亚文化的一部分。歌词通常涉及男性气概、自由和反抗权威的主题，而音量和失真则是表达这一态度的主要工具。
In the UK, many music genres have been restyled into a rougher, “British” version of themselves. The same happened with Blues Rock in the late sixties, which got restyled into Hard Rock. This happened simultaneously with the shutdown of UK’s pirate radios of the sixties. Subsidized radio stations after this closure preferred a palette of Pop Rock and Soft Rock and created a hiatus for heavier, more alternative music. Hard Rock filled that gap with a louder and faster kind of Blues Rock / Acid Rock and is therefore the missing link between these genres and Heavy Metal. The genre quickly caught on with the masses. After all, it was the first “heavy” music genre to exist or certainly the heaviest at this time.

Hard Rock uses the same instrument set-up as basic Classic Rock but with more distortion on the guitars and simple song structures. Hard Rock also introduced one of the most quintessential Rock elements: the “Riff”. Riffs are short unique melodies, often repetitive and a recognizable trademark of many Rock anthems.

Bursting with testosterone, Hard Rock is a macho thing, regardless if you’re a biker, leather-clad Rock star, or simply part of the rebel outlaw-subculture. The lyrical content often dealt with these lifestyles, talking about dark, criminal or macho topics. A new direction of music was born, so large and prominent that it’s hard to say which Metal, Industrial or modern Rock genre wasn’t influenced by it.
", "songlist": [ "Steppenwolf - Born To Be Wild", "George Thorogood & The Destroyers - Bad To The Bone", "AC⧸DC - Thunderstruck (Official Video)", "Golden Earring - Radar Love (Official Music Video [HD])", "Ram Jam - Black Betty (Official Video)", "Aerosmith - Love In An Elevator", "Thin Lizzy- Johnny", "All Right Now", "- Humble Pie - Honky Tonk Women - 1972 -", "The Who - Won't Get Fooled Again" ], "playlistID": "PLb15rbk6I4pP7uge-Rg8Y9nTut0Xj_AIE", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP7uge-Rg8Y9nTut0Xj_AIE", "spotify-playlist-link": "https://open.spotify.com/playlist/3KuTz4gQIWjQqhyDUPJtO7?si=XeOkSEsHSJiVmdCyraK1PA", "name_zh": "硬摇滚" }, "gld05": { "name": "PROGRESSIVE ROCK, ART-ROCK & SYMPHONIC ROCK
前卫摇滚 / 艺术摇滚 & 交响摇滚", "year": "1969", "supergenre-first-tag": "GOLDEN AGE", "description": "
艺术摇滚（Art Rock）与交响摇滚（Symphonic Rock）之间的区别相当直接（更艺术化对更多古典元素），但它们的形容词也可以应用于前卫摇滚（Progressive Rock）。尽管在技术上不同，为简明起见，我们将这三种流派视为一体。到六十年代中期，新的33转长时唱片（LP）已取代了较老的78转唱片，允许在一张唱片上播放更长时间。因此，焦点从热门单曲转移到精心制作的概念专辑，更长的歌曲也成为可能。更长的歌曲意味着更多机会实验段落、结构和歌曲进展（因此得名该流派）。\n\n酸性摇滚（Acid Rock）适度的自由形式和跨界激发了一些前卫艺术家同样进行实验，但更多朝向古典音乐而非世界音乐。结果是更柔和、更长、更复杂的歌曲，带有大量的速度变化和特殊乐器（如Mellotron）。这是沉思性的、难以创作的音乐，并非真正为现场表演而设，而是要在黑胶唱片上达到完美——作为智识音响发烧友的圣杯。因为在六十年代，音乐史上的另一个关键事件发生了：摇滚乐从青少年的舞曲音乐转变为成年人的严肃聆听体验。代表乐队包括平克·弗洛伊德（Pink Floyd）、是乐队（Yes）、创世纪（Genesis）、艾默生、雷克与帕玛（Emerson, Lake & Palmer）以及克里姆森国王（King Crimson）。
The difference between Art Rock and Symphonic Rock is pretty straightforward (more ‘artsy’ versus more classical elements), but their adjectives can be applied to Progressive Rock as well. Though technically different, we will treat these three genres as one and the same for the sake of conciseness.

By the mid sixties the new 33rpm long-play records had pushed away the older 78rpm records, allowing for more playtime on one record. Thus shifted the focus from hit singles to elaborate concept albums, in which also longer songs were possible. Longer songs meant more opportunity to experiment with passages, structure and song progression (hence the genre name). The (modest) freeform and crossover of Acid Rock inspired some “progressive artists” to experiment as well, but more towards classical music than world music. Softer, longer, and intricate songs were the result, with lots of tempo changes and special instruments (like a mellotron). It was contemplative, difficult to write music and not really meant for live performances, but to be mastered to perfection on vinyl as the Holy Grail for the intellectual audiophile. Because during the sixties, another key event in music history occurred that explains Prog Rock’s appeal: the appearance of stereo headphones and hi-fidelity speakers and home amplifiers. Stereo becomes the norm instead of mono and music listening turns into an uncanny sensation through technology that still delivers excellent sound quality by today’s standards.

Although numerous artists jumped on the bandwagon, especially in Italy, France and Germany, only few attained public fame. In the late seventies and early eighties, an emotional Prog(ressive) Revival aka Neo-Prog (with the band Marillion as principal exponent) further nurtured the undying interest of selective fans. The most important, experimental and peculiar Prog Rock subgenre is probably “Zeuhl”, that uses Opera and synth influences with chaotic percussion to create a fantasy-loaded dream world where anything is possible.
", "songlist": [ "Pink Floyd - Time (2011 Remastered)", "The court of the Crimson King", "The Moody Blues - Nights In White Satin", "Jethro Tull - Aqualung", "Yes - Roundabout", "Knife-Edge (2012 Remaster)", "𝕬 𝖂𝖍𝖎𝖙𝖊𝖗 𝕾𝖍𝖆𝖉𝖊 𝕺𝖋 𝕻𝖆𝖑𝖊 - 𝕻𝖗𝖔𝖈𝖔𝖑 𝕳𝖆𝖗𝖚𝖒", "Marillion - Script For A Jester's Tear", "Rush - Xanadu", "Ruins - Skhanddraviza", "Magma - Da Zeuhl wortz Mekanik" ], "playlistID": "PLb15rbk6I4pNEtAIh7IJ4eKhvdalQ1BCc", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNEtAIh7IJ4eKhvdalQ1BCc", "spotify-playlist-link": "https://open.spotify.com/playlist/5B2g2hxC730raZ0d1LSCo3?si=1EYSguLNTEKH_8scGyHwRg", "name_zh": "前卫摇滚 / 艺术摇滚 & 交响摇滚" }, "gld06": { "name": "GLAM ROCK / GLITTER ROCK / SHOCK ROCK
华丽摇滚 / 闪耀摇滚 / 休克摇滚", "year": "1971", "supergenre-first-tag": "GOLDEN AGE", "description": "
花权力（flower power）时代的内爆导致焦点转向个人主义，并在一些艺术家那里转向人格崇拜。促成这一变化的一个重要因素是流行音乐被引入电视。起初是广播表演、音乐节目，八十年代甚至有了专门的音乐频道和音乐录影带。这在摇滚乐的世界里被强烈地感受到——硬摇滚变得不再是关于听觉的，而更多是关于视觉的。某些摇滚艺术家抓住了电视的机会，脱颖而出，引起关注。要么通过性感的或挑衅性的行为震撼观众（冲击摇滚 Shock Rock），要么通过化妆和时尚构思古怪的另我人格（华丽/闪耀摇滚 Glam/Glitter Rock）。\n\n讽刺的是，声音远非令人震惊，而是华丽迷人的。华丽摇滚（Glam Rock）的风格范围可以从创作歌手到前卫摇滚甚至硬摇滚，但通常以钢琴旋律为特色。概念性音乐录影带赋予了该流派知识界的吸引力（其金属后继者华丽金属失去了这一点），并增强了神秘感和怪异性。华丽摇滚关乎名气。雌雄同体的歌手和电子影响吓坏了传统的摇滚爱好者，他们开始形成大规模的反对派。代表艺人包括大卫·鲍伊（David Bowie，以Ziggy Stardust另我人格）、T. Rex的马克·波伦（Marc Bolan）、罗克西音乐（Roxy Music）以及皇后乐队（Queen，早期）。
The implosion of the flower power age led to a shift of focus towards individualism and with some artists to a cult of personality. One important contributor to this change is the introduction of popular music onto television. At first with broadcasted performances, music programs and in the eighties even with specialized music channels and video clips. This was strongly felt in the world of Rock where Hard Rock became less about auditory and more about the visual. Certain Rock artists grasped the opportunity of TV to stand out and get noticed. Either by shocking audiences with sexual or provocative acts (Shock Rock) or by conceiving eccentric alter egos through make-up and fashion (Glam/Glitter Rock). Ironically the sound was far from shocking, it was glamorous. Glam Rock’s style could range from Singer/Songwriter to Prog Rock or even Hard Rock, but often with piano melodies. Conceptual video clips gave the genre appeal in intellectual circles (something its Metal successor “Glam Metal” lost) and increased the concept of mystery and the bizarre. Glam Rock is about fame. Androgynous singers and electronic influences frightened traditional Rock enthusiasts who started forming a large countermovement in “Roots Rock”. Glam Rock overlaps with its successor, Proto Punk, which would transfer the glam universe of excess and eccentricity to Punk Rock.
", "songlist": [ "Ziggy Stardust ｜ David Bowie", "Queen - I Want To Break Free (Official Video)", "Roxy Music - Love Is the Drug [HQ]", "Get It On - Marc Bolan & T. Rex", "Slade - Far Far Away (Original Promo) (1974) (HD) (With Lyrics)", "Sweet - The Ballroom Blitz - Top Of The Pops 20.09.1973 (OFFICIAL)" ], "playlistID": "PLb15rbk6I4pNXNla6U9Y6ECECziVyedVP", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNXNla6U9Y6ECECziVyedVP", "spotify-playlist-link": "https://open.spotify.com/playlist/6GGvFvPJkOtrnu6zS9iMCL?si=T2Ja9IwfQpmk-W0LqHCuZA", "name_zh": "华丽摇滚 / 闪耀摇滚 / 休克摇滚" }, "gld07": { "name": "SOUTHERN ROCK
南方摇滚", "year": "1971", "supergenre-first-tag": "GOLDEN AGE", "description": "
当一个国家输掉一场战争时，往往会涌现出重建自豪感和表达身份的深刻冲动。南方摇滚（Southern Rock）是美国南部各州典型风格的又一例，并且可以说是最强调自豪、荣耀和自由意志的一种。这一融合流派彻头彻尾地爱国：南方的美国蓝调（三角洲蓝调 Delta Blues）遇上南方的美国乡村音乐（法外乡村 Outlaw Country）遇上美国摇滚乐（Rock 'n' Roll）。经过一段时期对迷幻摇滚的实验之后，回归根源的摇滚音乐时代已经到来。\n\n南方摇滚以原始和响亮为特征。它是对电吉他（蓝调滑棒吉他）的赞美和崇拜——多把主音吉他在不用于某种重型布吉（boogie）即兴演奏时，演奏着（常常即兴的）独奏。总而言之：南方摇滚要么是一首温柔的乡村抒情曲，带有一抹蓝调摇滚的味道，要么是一列失控的货运列车过山车，在轨道上旋转、偏离，直到摇晃的布吉节奏将其重新放回轨道上，准备下一次旅程。在21世纪，新一代南方摇滚艺术家崭露头角，如里昂国王（Kings of Leon）和黑乌鸦乐队（The Black Crowes）。
When a nation loses a war, often a deep urge arises to reestablish its pride and express its identity. Southern Rock is another example of many styles typical for the southern states of the US and arguably the one that stresses most the will of pride, glory and freedom. This fusion genre is patriotic to the bone: southern American Blues (Delta) meets southern American Country (Outlaw) meets American Rock (Rock ‘n’ Roll). After a period of experimenting and psychedelic Rock, the time for back to the roots Rock music was at hand. Southern Rock is distinguishable by being raw and loud. It is the celebration and adoration of electric (Blues slide) guitars by having multiple lead guitars playing (often improvised) solos whenever they’re not used for some heavy boogie jamming. In conclusion: Southern Rock is either a gentle Country balled with a touch of Blues Rock or a freight train rollercoaster looping and spinning off its tracks until the shaking boogie rhythm puts it back on again for another ride. In the 21st century, a new wave of Southern Rock artists comes on the scene such as the Kings of Leon and the Black Crowes.
", "songlist": [ "Lynyrd Skynyrd - Sweet Home Alabama", "Allman Brothers Midnight Rider", "Creedence Clearwater Revival： Run Through The Jungle", "ZZ Top - Sharp Dressed Man (Official Music Video) [HD Remaster]", "Stevie Ray Vaughan and Double Trouble- Voodoo Child (HQ)", "Black Oak Arkansas - Lord Have Mercy On My Soul.wmv", "Blackfoot - Train, Train", "Kings Of Leon - Red Morning Light (Official Video)", "The Black Crowes - Remedy" ], "playlistID": "PLb15rbk6I4pPkBE595EQvA5sMxmKtBrXs", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPkBE595EQvA5sMxmKtBrXs", "spotify-playlist-link": "https://open.spotify.com/playlist/5AMyjrQboKWpdB0qSgrLXR?si=vUc6zPzEQpqoISwaXqQX_Q", "name_zh": "南方摇滚" }, "gld08": { "name": "HEARTLAND ROCK & A.O.R. (ADULT ORIENTED ROCK)
心脏地带摇滚 & AOR", "year": "1974", "supergenre-first-tag": "GOLDEN AGE", "description": "
当人们想到七十年代的摇滚乐时，通常不是硬摇滚或华丽摇滚，而是与之对立的A.O.R.——成人导向摇滚（Adult Oriented Rock，不是有时描述的专辑导向摇滚album oriented rock）。A.O.R.在更另类和成熟的圈子内为响亮、尖锐、咄咄逼人的摇滚乐提供了平衡，因此得名（尽管许多成年人起初也是大学生）。与硬摇滚的对比加剧，导致了反义词软摇滚（Soft Rock）的出现。A.O.R.有许多同义词，如美式摇滚（American Rock）、竞技场摇滚（Arena Rock）、体育场摇滚（Stadium Rock）、晚期硬摇滚（Late Hard Rock）和华丽摇滚（Pomp Rock）。这些名称已经显示出该流派的巨大流行度以及许多表演的所谓浮夸。\n\n强烈让人想起前卫摇滚（Prog Rock），A.O.R.乐队专注于专辑整体（单曲不那么重要），专辑中充满了长而多样的歌曲。A.O.R.比前卫摇滚更朗朗上口、更易于接受（尽管不排除实验性）。A.O.R.成功的主要原因不在于其光鲜的制作或戏剧性的吉他和弦与简单鼓模式的结合——尽管这些确实有帮助——其成功在于对六十年代自由精神的一种扭曲怀旧。代表乐队包括旅程乐队（Journey）、波士顿乐队（Boston）、外国人乐队（Foreigner）、REO Speedwagon以及冥河乐队（Styx）。
When people think about Rock of the seventies, it’s usually not Hard Rock or Glam Rock, but the antagonistic “A.O.R.” short for Adult Oriented Rock (and not album oriented rock as sometimes described). A.O.R provided the counterweight for loud, sharp, in-your-face Rock within more alternative and “mature” circles, hence its name (though many adults were also college students in the beginning). The contrast with Hard Rock increased, leading to the antonym Soft Rock. A.O.R. has many synonyms such as American Rock, Arena Rock, Stadium Rock, Late Hard Rock and Pomp Rock. These names already show the massive popularity of the genre and the allegedly pompousness of many acts. Strongly reminiscent of Prog Rock, A.O.R. bands focused on the album as a whole (singles were less important) and they were filled with long and varying songs. A.O.R is a lot more catchy and accessible than Prog Rock (though experimentation is not out of the question). The main reason for A.O.R.’s success does not lie in its glossy production or the combination of dramatic guitar chords with simple drum patterns. Though this certainly helped, its success lies in a twisted nostalgia of the free spirit of the sixties, and a strong desire to forget all negative things of the early seventies: Vietnam, Watergate and the Iran War. A.O.R. is a Flower Power Fata Morgana.

Heartland Rock can be seen as a subgenre of A.O.R. This music genre emerged in 1979 and quickly gained momentum as it was made for the everyday blue collar hard-working American. The name refers to the “Heartland” of America, which are the Midwestern states of the U.S.
", "songlist": [ "Boston - More Than a Feeling (Official HD Video)", "Survivor - Eye Of The Tiger (Official HD Video)", "Journey - Don't Stop Believin' (Official Audio)", "Toto - Hold The Line", "Heart - Straight On", "REO Speedwagon - Can't Fight This Feeling (Official HD Video)", "Bruce Springsteen - Born in the U.S.A. (Official Video)", "Meat Loaf - Paradise by the Dashboard Light", "Tom Petty And The Heartbreakers - Runnin' Down A Dream (Official Music Video)" ], "playlistID": "PLb15rbk6I4pMEWOj8417vOiuiYDFxFenH", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMEWOj8417vOiuiYDFxFenH", "spotify-playlist-link": "https://open.spotify.com/playlist/7mcli48SdZg2zPopx7OVuy?si=sEUsPRAOQPq4HqZBVn1_0w", "name_zh": "心脏地带摇滚 & AOR" }, "pwv01": { "name": "PUB ROCK & PROTO PUNK
酒吧摇滚 & 原始朋克", "year": "1971", "supergenre-first-tag": "PUNK/WAVE", "description": "
根源摇滚（Roots Rock）是一个模糊的统称，指那些远离电子或流行影响（回归根源）、并受到早期乡村、外部流派如民谣、蓝调和乡村音乐影响的摇滚流派。根源摇滚流派包括乡村/民谣摇滚、南方摇滚，以及酒吧摇滚（Pub Rock）。后者可能是最不为人知的，但作为硬摇滚与朋克摇滚之间缺失的一环，意义重大。在美国，Pub Rock被视为与A.O.R.相关的、面向普通人的不废话摇滚。在英国，Pub Rock在酒吧中出现，作为一种更原始、剥离的摇滚类型。这是一个短暂、自发、松散的运动，适合花权力时代结束后的斗殴和不满情绪。\n\nPub Rock与原初朋克（Proto Punk）是相当不同的流派，但它们都是朋克的前身。美国原初朋克的定义要模糊得多；实际上，它更像是一个非常有影响力的先锋艺术家的集合，他们无法真正被归入其他流派，有时甚至跨越到经典金属。然而，这些艺术家对朋克和德国泡菜摇滚（Krautrock）产生了巨大影响，使他们成为有史以来最重要的摇滚艺术家之一。代表包括The Stooges（Iggy Pop）、MC5、The Velvet Underground以及The New York Dolls。
Roots Rock is a vague portmanteau term for Rock genres that steered away from electronic or Pop influences (back to the roots) and which were influenced by early, rural, outside genres such as Folk, Blues and Country. Roots Rock genres include Country/Folk Rock, Southern Rock, as well as Pub Rock. The latter is probably the least familiar one, but significant as the missing link between Hard Rock and Punk Rock. In the US, Pub Rock is seen as no-nonsense Rock for the everyday common man affiliated with A.O.R. In the UK, Pub Rock popped up in bars (pubs) as a more raw, stripped down kind of Rock. It was a short, spontaneous, loose movement, fitting for brawls and malcontent after the end of the flower power age.

Pub Rock and Proto Punk are fairly different genres, but they are both predecessors of Punk. American Proto Punk is much more vaguely defined; in fact it is rather a collection of very influential avant-garde artists who cannot really be placed in another genre and who even sometimes cross over to Classic Metal. Yet these artists had a tremendous influence on Punk and Krautrock, making them among the most important Rock artists of all time.
", "songlist": [ "MC5 - Kick out the jams", "I'm Waiting For The Man", "I Wanna Be Your Dog", "New York Dolls - Personality Crisis", "Mott The Hoople - Roll Away The Stone", "Eggs Over Easy - Night Flight", "Cruel to Be Kind", "Bees Make Honey - Boogie Queen", "Ducks De Luxe - Fireball" ], "playlistID": "PLb15rbk6I4pO2nj8c4bu8e4HNWyJbXxip", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO2nj8c4bu8e4HNWyJbXxip", "spotify-playlist-link": "https://open.spotify.com/playlist/3Ea2fWcTfscIueRqDx6EL9?si=dLp1tc9VSXmGsCv22jXDYQ", "name_zh": "酒吧摇滚 & 原始朋克" }, "pwv02": { "name": "PUNK ROCK
朋克摇滚", "year": "1975", "supergenre-first-tag": "PUNK/WAVE", "description": "
朋克摇滚（Punk Rock）可能是摇滚史上最大的革命，尽管其积累在英国酒吧中已经以Pub Rock的形式可以感知。七十年代初英国的经济和政治局势让一些不务正业的年轻人（称为punks）非常愤怒。在美国，他们重新发现了被遗忘的类似车库摇滚（Garage Rock）精神，但朋克最重要的推动力是对七十年代初体育场摇滚（Stadium Rock）的强烈反弹。流行的前卫摇滚和A.O.R.乐队开始触及大众（且更成熟的）观众，摇滚已变成精英大众的折衷奇观。是时候回归摇滚的原始根源了——把被偷走和变形的中指还给年轻人。\n\n音乐是硬摇滚/车库摇滚，但更短、更快、充满能量、原始并被剥离到基础和弦，与迅速失控的朋克亚文化融为一体。许多早期业余朋克乐队的名字令人恶心和下流：朋克喜欢沉溺于挑衅文化——极端发型（闪亮色彩、莫西干头、尖峰）、叛逆时尚（无序、粗糙、撕裂）和令人厌恶的行为，如吸食非常恶臭的安非他命。代表乐队包括性手枪（Sex Pistols）、冲撞乐队（The Clash）、雷蒙斯乐队（Ramones）以及该死的乐队（The Damned）。
Punk Rock probably was the biggest revolution in Rock history, although the build-up was already tangible in the British bars in the form of Pub Rock. The economic and political situation in Britain during the early seventies made a few young up-to-no-good kids (“punks”) really angry. In the US, they rediscovered the similar forgotten Garage Rock mentality, but the most important contributor of Punk was a strong backlash against “Stadium Rock” of the early seventies. Popular Prog Rock and A.O.R. bands started to reach massive (and more mature) audiences and Rock had become an eclectic spectacle for the elite masses. It was time for a return to the primordial roots of Rock – to give the youth back its stolen and deformed middle finger.

The music was Hard / Garage Rock, but much shorter, faster, energetic, raw and stripped to the base chords which blended in with the rapidly growing out of control Punk subculture. Many early amateur Punk Rock band names were gross and sleazy: Punk liked to indulge in a provocative culture of extreme haircuts (flashy colors, moehawks, sharp peaks), rebellious fashion (disorderly, rough, torn) and disgusting behavior, such as snorting very foul amphetamine sulphate crystals as they were the cheapest drug around. The difference with Industrial was that you could really go wild and dance to it, thus explaining its unfathomable magnetism. A lot of UK Punk was witnessed in the Roxy club, London, whereas US Punk evolved mainly out of the legendary club CBGB’s, New York (which also propelled Post-Punk and New Wave).
", "songlist": [ "Sex Pistols - Anarchy In The UK", "Ramones-Blitzkrieg Bop", "What Do I Get？", "The Clash - White Riot (Official Video)", "The Undertones - Teenage Kicks (Official Video)", "The Damned - New Rose (Official Video)", "Gary Gilmore's Eyes", "Land ⧸ Patti Smith", "The Jam - Going Underground", "XRay Spex - Oh Bondage! Up Yours!" ], "playlistID": "PLb15rbk6I4pMZpbwAv7cvekrWVOX99Tpr", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMZpbwAv7cvekrWVOX99Tpr", "spotify-playlist-link": "https://open.spotify.com/playlist/3psfx3x5gsJHUkCHWlTyey?si=yHZtcjZKT4-YbP3ptR-a7A", "name_zh": "朋克摇滚" }, "pwv03": { "name": "ANARCHO-PUNK, CRUST PUNK, & D-BEAT / DISCORE
无政府朋克 / 硬壳朋克 & D-Beat", "year": "1977", "supergenre-first-tag": "PUNK/WAVE", "supergenre-second-tag": [ "master", "HARDCORE" ], "description": "
朋克摇滚不仅是音乐，也是一台营销机器，由运动领袖和性手枪乐队经理马尔科姆·麦克拉伦（Malcolm McLaren）巧妙操控。作为回应，一个新的子流派回应了这台机器：无政府朋克（Anarcho-Punk，其名称借用了性手枪臭名昭著的单曲Anarchy in the UK）。它并非真正的无政府主义，主要是对朋克摇滚的反动。这些乐队信奉重型DIY方式、极少营销或宣传，以及自己的唱片制作，形成了硬核朋克（Hardcore Punk）的前奏。强烈的社区意识——无论是艺术家还是粉丝——是无政府朋克的另一个标志。但最重要的是（因为与早期朋克摇滚在声音上差别不大），是真正的政治信息，由对一些最著名朋克摇滚乐队歌词肤浅的厌恶所推动。\n\n政治反应在保守党人玛格丽特·撒切尔（Margaret Thatcher）于1979年在英国上台后变得更加强烈，她成为朋克后代流派持久不衰的拳击袋。硬核朋克发展一段时间后（约1985年），无政府朋克受到极端金属（黑金属和速度金属）的强烈影响。这在对更混乱和更快的声音中清晰可辨。两个子流派由此出现：硬壳朋克（Crust Punk）——更脏、更重的无政府朋克变体——以及D-beat/Discore，以其标志性鼓点为特征。
Punk Rock was besides music also a marketing machine, cleverly steered by the movement’s frontman and Sex Pistol’s manager Malcolm Mclaren. In response, a new subgenre answered to the machine: Anarcho-Punk (which lent its name from the Sex Pistol’s infamous single “Anarchy in the UK”). It wasn’t really anarchistic though, mostly reactionary towards Punk Rock. These bands swore by heavy DIY approach, little marketing or publicity, and by their own record production, forming the prelude to Hardcore Punk. A strong community sense, is another trademark of Anarcho-Punk, both by the artists and their fans. But most importantly (as there is not much difference in sound with early Punk Rock) are real political messages, fueled by a distaste for the lyrical shallowness of some of Punk Rock’s most famous bands. Political reaction grew stronger when conservative Margaret Thatcher took office in the UK in 1979, who proved to be a long lasting punching bag for Punk’s offspring genres.

A while after the development of Hardcore Punk (around 1985), Anarcho-Punk gets heavily influenced by Extreme Metal (both Black and Speed). This is clearly discernible in both a more chaotic and faster sound. Two Punk Rock subgenres emerge: Crust (Punk) aka Crustcore and D-Beat or Discore. Crust is a heavy, bass-filled style, much more nihilistic and bleak than Anarcho and the predecessor of Grindcore. D-Beat or Discore is a smaller and more straightforward style named after its repetitive, stuttering drum beats, which was particularly popular in Sweden.
", "songlist": [ "Crass - Do They Owe us a Living (Lyrics)", "Flux of Pink Indians - They Lie We Die", "Subhumans - No", "Propagandhi - Anti-Manifesto (Lyrics)", "Hellbastard - Death Camp [In Grind We Crust]", "Amebix - Largactyl", "Antisect - Out From The Void", "Detestation - Your Choice", "Discharge-Protest And Survive", "Anti-Cimex - Prelude E-Minor⧸Criminal Trap" ], "playlistID": "PLb15rbk6I4pPKWwS3cisYRqCjCliXTADd", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPKWwS3cisYRqCjCliXTADd", "spotify-playlist-link": "https://open.spotify.com/playlist/7CLey7KK6Dk7KiO3aYstza?si=UN1IIzBLTyGgV_gAULb8Sw", "name_zh": "无政府朋克 / 硬壳朋克 & D-Beat" }, "pwv04": { "name": "POST-PUNK
后朋克", "year": "1978", "supergenre-first-tag": "PUNK/WAVE", "description": "
朋克摇滚，或更准确地说朋克运动，在迪斯科达到巅峰的同时消亡了。朋克的衰落与迪斯科的崛起并列，在摇滚艺术家中投下了恐惧与仇恨的阴暗阴影。这可以在与后朋克（Post-Punk）共享同一社会文化框架的许多流派中看到：早期工业（Industrial）与噪音（Noise）流派、哥特摇滚（Gothic Rock）和No Wave运动。但朋克之后的直接余波是后朋克：没有棱角的朋克摇滚，但也失去了一些业余性和天真。在这个流派中，一种黑暗的、艺术性的挣扎是显而易见的；对社会已变成什么样以及音乐无力改变它的艰难应对。\n\n不要忘记，例如1973年是第一次石油危机之年（1979年迅速紧随第二次石油危机），对就业和收入产生了长期国际影响。后朋克歌曲变得更长、不那么具爆发性/攻击性，但更复杂和具有挑战性。许多后朋克歌曲表现出对重复元素的倾向，以诱导某种恍惚状态。在寻找新结构的过程中，后朋克（一个独立的亚文化运动）探索了不那么传统的技术和乐器，同时深入沉浸在忧郁、无望和存在的黑暗中。代表乐队包括快乐分裂（Joy Division）、苏克西与女妖（Siouxsie and the Banshees）、治疗乐队（The Cure，早期）以及包豪斯（Bauhaus）。
Punk Rock, or more accurately the Punk movement, died around the same time Disco reached her peak. The fall of Punk juxtaposed to the rise of Disco casted a gloomy shadow of both fear and hate among Rock artists. This can be witnessed in the many genres interwoven in the same sociocultural framework as Post-Punk: Early Industrial and Noise genres, Gothic Rock and the No Wave movement. But the immediate aftermath of Punk was Post-Punk: Punk Rock without its edges, but also without some of its amateurism and naivety. In this genre, a dark, arty struggle is noticeable; a difficult coping with what society had become and the impotence of music to change it. One must not forget for example, that 1973 was the year of the first Oil Crisis (which was rapidly followed by the second one in 1979) with long-term international effects on employment and income.

Post-Punk songs became longer, less explosive/aggressive but more complex and challenging. Many Post-Punk songs display a tendency for repetitive elements, to induce a certain trance. Searching for new structures, Post Punk (a subcultural movement on its own) explored less conventional techniques and instruments, while immersing itself deeply in the “Black” music of Funk and Dub. These interests trickled down through Post-Punk into other innovative genres such as Madchester and Trip Hop. Different Post-Punk songs can sound entirely different and a cohesive definition of the genre is lacking. The experimental nature of Post-Punk prevented a true countermovement as there was no unified sound, merely an endless quest. Only New Wave was capable of shedding a light at the end of the tunnel.
", "songlist": [ "Love will tear us apart - Joy Division BBC Peel Session version", "Pretty In Pink", "Section 25 - Dirty Disco", "The Fall, Totally Wired.", "The Pop Group ⧸ She's beyond Good and Evil", "TUXEDOMOON no tears 1978", "Gang of Four - Damaged Goods (Damaged Goods EP).f397", "Echo & The Bunnymen - Bring on The Dancing Horses (Official Music Video)" ], "playlistID": "PLb15rbk6I4pNwVS_jabXVsjpe1QsMsoQJ", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNwVS_jabXVsjpe1QsMsoQJ", "spotify-playlist-link": "https://open.spotify.com/playlist/4EMUhvbLgwbasQHTYT1iWi?si=oW1BWAWnQNuW8mZELl0viQ", "name_zh": "后朋克" }, "pwv05": { "name": "NO WAVE
无浪潮", "year": "1978", "supergenre-first-tag": "PUNK/WAVE", "description": "
尽管该运动的流行度不高且短暂，No Wave是一个有充分记录且经常被描绘的音乐流派。这种关注很大程度上可以由该流派清晰的轮廓、音乐的强度以及隐藏但重要的对其他流派的影响来解释。No Wave是一场文化先锋运动，从纽约市更黑暗、更工业和废弃的地方蔓延而出，以及先锋乐队如Suicide和The Velvet Underground的作品。一批知识分子艺术家再也无法忍受七十年代令人压抑的事件，也无法忍受使新浪潮（New Wave）变得更朗朗上口和更快乐的上升趋势中的讽刺意味。\n\n在他们城市战区的混凝土地下丛林中，他们创造了适合全面启示录的原声音乐：器乐的、无调性的、折衷的、超级愤怒和压抑的后-后朋克-原初垃圾摇滚（post-Post-Punk-proto-Grunge）。通常有直接从自由爵士（Free Jazz）启发而来的极其混乱的段落。但No Wave不仅仅是音乐：受到法国新浪潮（Nouvelle Vague）运动启发的导演和行为艺术家展示了类似解构主义和虚无主义的表达。No Wave的最短寿命（整个场景从1978年持续到1982年）并未阻止其深远影响。代表艺人包括DNA、Mars、Teenage Jesus and the Jerks以及James Chance & the Contortions。
Despite the modest popularity and briefness of the movement, No Wave is a well documented and often portrayed music genre. A lot of this attention can be explained by the strong outlines of the genre, the intensity of the music and the hidden but important influence on other genres. No Wave was a cultural avant-garde movement sprawling forth out of the darker, more industrial and abandoned places of New York City and the work of avant-garde bands like Suicide and The Velvet Underground. A number of intellectual artists could no longer bear the depressing events of the seventies, nor the irony of the rising tendency to make New Wave catchier and happier. In the concrete underground jungle of their urban warzone, they created a soundtrack fit for total apocalypse: instrumental, atonal, eclectic, super pissed off and depressing post-Post-Punk-proto-Grunge. Often there were extremely chaotic passages directly inspired from Free Jazz. But No Wave was more than just music: directors, inspired by the French Nouvelle Vague movement and performance artists displayed similar expressions of deconstructivism and nihilism. The minimal lifespan of No Wave (the entire scene lasted from 1978 to 1982) can be explained by an absence of a unified goal. All No Wave artists were connected by their rejection of everything (“NO”), yet failed to become a conglomerated movement. If it weren’t for Brian Eno’s infamous compilation “No New York”, No Wave’s face would probably still be masqueraded in grainy low-key shadows it so dearly embraced.
", "songlist": [ "James Chance & The Contortions - Dish It Out", "Teenage Jesus and the Jerks - The closet", "Swans - No Words No Thoughts (Official Music Video)", "Live Skull Machete", "Mars - Helen Forsdale (No Wave! 1978)", "DNA--Not Moving", "Theoretical Girls - Computer Dating", "Lounge Lizards - 03-Do The Wrong Thing", "Lydia Lunch - This Side of Nowhere", "Suicide - Wild in blue" ], "playlistID": "PLb15rbk6I4pMtYp3KIs0FpzCLxTjqX5DN", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMtYp3KIs0FpzCLxTjqX5DN", "spotify-playlist-link": "https://open.spotify.com/playlist/2nmtbhZCAfLpoHdFiVKGjb?si=ryV1GuMRQqOjhoOvRXCgDw", "name_zh": "无浪潮" }, "pwv06": { "name": "NEW WAVE
新浪潮", "year": "1980", "supergenre-first-tag": "PUNK/WAVE", "description": "
作为最被滥用的流派名称之一，新浪潮（New Wave）通常代表任何听起来介于摇滚和电子之间的八十年代音乐，直至并包括自赏（Shoegazing）、EBM甚至新节拍（New Beat）。然而，在严格意义上，新浪潮只是朋克之后的平行反应，沿着（且非常类似于）后朋克，但通常加入了合成器。来自雷鬼（Reggae）的重要影响在音乐中也是显而易见的：朋克和雷鬼亚文化在政治抗议期间合作的结果。\n\n然而，主要区别不在于这种向电子流行的增长性转变，而是一种明确的积极心态和匹配的亚文化。其中，朋克的时尚遗产继续并达到了新的高度和嬉皮士造型，伴随着匹配的平面设计和艺术。新浪潮是关于形象和看起来很时髦。关于拥抱未知的电子未来，而不是回忆朋克的辉煌岁月。当伊恩·柯蒂斯（Ian Curtis，传奇后朋克乐队快乐分裂的主唱）在1980年底自杀时，许多音乐家认为整个后朋克抑郁症走得太远了，变得太过真实。从1981年起，大量新浪潮迅速改变方向，走向合成器流行（Synthpop）。代表艺人包括Talking Heads、Blondie、The Police、Devo以及Elvis Costello。
As one of the most misused genre names, New Wave often stands for any eighties’ music that sounds somewhere between Rock and Electronic, up to and including Shoegazing, EBM and even New Beat. In the strict sense however, New Wave is only the parallel after Punk reaction, alongside (and quite similar to) Post-Punk, but often with the addition of synthesizers. An important influence from Reggae is also noticeable in the music: a consequence of the collaboration between Punk and Reggae subcultures during their political protest.

The main difference however, is not this growing shift towards electronic Pop, but a clear positive mentality and matching subculture. Herein, the fashion legacy of Punk continues and reaches a new height and hipster look, accompanied by matching graphic design and art. New Wave then, is all about image and looking hip. About embracing the unknown electronic future, instead of reminiscing the glorydays of Punk.

When Ian Curtis (frontman of legendary Post-Punk band Joy Division) committed suicide at the end of 1980, many musicians felt that the whole “Post-Punk Depression” had gone too far and become all too real. From 1981 onwards, a lot of New Wave rapidly changes into Synthpop - which was truly futuristic and progressive – though it still bore the melancholic remnants of dark Post-Punk days.
", "songlist": [ "Blondie - Atomic", "Talking heads - Slippery people", "Adam & The Ants - Stand And Deliver (Video)", "The Stranglers - Peaches", "The B-52's - Mesopotamia", "DEVO - Mongoloid", "The Police - Roxanne (Official Music Video)", "XTC - Senses Working Overtime", "Thomas Dolby - Hyperactive! (Official HD Video)", "Fischer Z - The Worker", "The Teardrop Explodes - Reward (Original Promo) (1981) (With Lyrics) (HD)" ], "playlistID": "PLb15rbk6I4pNp6JOXFO6mWZWe9grDkcPL", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNp6JOXFO6mWZWe9grDkcPL", "spotify-playlist-link": "https://open.spotify.com/playlist/0vsSlwXOlCYLHxq81cxhlU?si=pMpZTBfIQoSA5E-bFmEs3g", "name_zh": "新浪潮" }, "pwv07": { "name": "HORROR PUNK & PSYCHOBILLY
恐怖朋克 & 疯狂摇滚", "year": "1981", "supergenre-first-tag": "PUNK/WAVE", "supergenre-second-tag": [ "slave", "(rock 'n' roll)" ], "description": "
Psychobilly是一个怪异而不寻常的融合流派，从未受到太多关注，尽管它有着可辨识的声音和实质性的亚文化。在七十年代末，朋克/车库艺术家被摇滚比利（Rockabilly）所吸引。这些流派的混合产生了引人注目的结果：令人毛骨悚然的摇滚乐，带有萦绕的回声、幽灵般的声音效果和粗糙的电锯式riff。这是彻底疯狂的音乐，就像乐队失去了大脑并变成了僵尸，因此得名Psychobilly。人声也经常以结巴的方式演唱，让人想起Rockabilly。\n\n恐怖朋克（Horror Punk）或恐怖摇滚（Horror Rock）是一个以对五十年代图像、时尚和主题——尤其是恐怖电影——的大量怀旧为特征的流派。恐怖朋克与Psychobilly有大量重叠，因为两种流派都喜欢沉溺于B级片和邪典电影的亚文化中。恐怖朋克和Psychobilly是朋克中少数不把自己当回事的（恰恰相反），这解释了它们流行度的很大一部分。出生后不久，Psychobilly直接导致了车库摇滚的第二波（一次小型复兴运动）。Cowpunk或乡村朋克（Country Punk，一个不太知名的朋克子流派）可以被视为相关的。代表乐队包括The Cramps、The Misfits、The Meteors以及Tiger Army。
Psychobilly is a weird and unusual fusion genre that never received much attention, although it has a recognizable sound and substantial subculture. In the late seventies, Punk/Garage artists were drawn towards Rockabilly. The mixture of these genres processed a remarkable outcome: creepy Rock ‘n’ Roll with haunting echos, spooky sound effects and rough chainsaw riffs. It is downright crazy music, like the band had lost their brain and became zombified, hence the word Psychobilly. Vocals are also often sung in a stuttering manner, reminiscent of Rockabilly.

Horror Punk or Horror Rock is a genre defined by a large amount of nostalgia for fifties imagery, fashion and themes and especially horror films. Horror Punk shares a great deal of overlapping with Psychobilly as both genres like to indulge in a subculture of B-flicks and cultmovies. Horror Punk and Psychobilly are among the few subgenres of Punk that don’t take themselves seriously (on the contrary), which explains a great deal of their popularity. Shortly after its birth, Psychobilly directly leads to the second wave of Garage Rock (a minor revival movement). Cowpunk or Country Punk (a lesser known Punk subgenre) can be seen as a further evolution of Psychobilly, merging with Alternative Country.
", "songlist": [ "The Cramps - Human Fly", "Reverend Horton Heat - Let Me Teach You How To Eat", "The Meteors- Psycho for your love", "The Living End - 'All Torn Down' (Official Music VIdeo)", "DEMENTED ARE GO - Bodies In The Basement (OFFICIAL VIDEO)", "Boogie On The Beach video from movie SIX STRING SAMURAI", "Zombina & The Skeletones - Zombie Hop", "CALABRESE - ＂Voices of the Dead＂ (Official Music Video)", "Wednesday 13 - I Walked With A Zombie [OFFICIAL VIDEO]" ], "playlistID": "PLb15rbk6I4pOKfCLWGu8ErxWhjooEEq7Q", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOKfCLWGu8ErxWhjooEEq7Q", "spotify-playlist-link": "https://open.spotify.com/playlist/6LMKLqraVluCv1arYzQOWm?si=rCAcma9xSi6OPKLXC1GzsA", "name_zh": "恐怖朋克 & 疯狂摇滚" }, "pwv08": { "name": "SYNTHPOP & NEW ROMANTICS
合成器流行 & 新浪漫", "year": "1981", "supergenre-first-tag": "PUNK/WAVE", "supergenre-second-tag": [ "master", "POP" ], "description": "
在八十年代，合成器流行（Synthpop）统治着至高无上的地位：电子化的新浪潮（New Wave），由于将可辨识的流行/摇滚歌曲结构与新颖刺激的合成器声音相结合而变得高度流行。1983年雅马哈DX7——终极复音合成器——的发布极大地增加了Synthpop音乐的制作。吉他几乎不被注意到，即使它们还在，也常常被keytar所取代。原始新浪潮与八十年代中期Synthpop之间的差异相当大。它不那么具攻击性，更旋律化，摇滚更少，流行更多。它光滑而洁净，具有感染力和舞蹈性，易于接受且有趣。另一个区别是对时尚、风格、华丽和化妆的日益强调。\n\n然而，从Wave到Synthpop的逐渐演变确保了大量音乐介于两者之间，新浪潮成为与Synthpop可互换的术语。在这一势头中，一个临时的运动也存在，称为新浪漫主义（New Romantics）：一种带有迪斯科影响的Synthpop/Wave混合体。Synthpop可能是一个误导性术语，因为该流派在心态上可能是所有流行流派中最不像流行的。许多Synthpop艺术家渴望实验主义和概念性音乐，建立在合成器声音之上。代表艺人包括Depeche Mode、The Human League、Pet Shop Boys、Yazoo以及Eurythmics。
In the eighties, Synthpop reigns supreme: electronic New Wave that became highly popular due to the combination of a recognizable Pop/Rock song-structure and new and exciting synthesizer sounds. The release of the Yamaha DX7 in 1983 as the penultimate polyphonic synthesizer dramatically increases the production of Synthpop music. Guitars are barely noticeable, if they are present at all or not replaced by “keytars”. The difference between original New Wave and mid-eighties Synthpop is quite large. It’s less aggressive and more melodic, with less Rock and more Pop. It’s sleek and sterile, contagious and danceable, accessible and fun. Another difference is the increased emphasis on fashion, style, glamour and make-up. However, the gradual evolution from Wave to Synthpop ensures that a lot of music falls in between and New Wave becomes an interchangeable term with Synthpop. In this momentum a temporary movement also existed, known as the New Romantics: a hybrid Synthpop/Wave with Disco influences.

Synthpop can be a misguiding term, as the genre is probably the least Pop-like of all Pop genres in terms of mentality. Many Synthpop artists crave experimentalism and conceptual music, building further on the legacy of (Post-)Punk. Synthpop was also one of the few music genres heavily featured on early MTV, alongside Disco Pop, Glam Metal and Golden Age Rap. Difficult arrangements (like Post-Punk), yet simple, futuristic and flashy songs have granted Synthpop an endless appeal, with a far reaching influence and even revivals of revivals.
", "songlist": [ "Depeche Mode - Strangelove (Remastered)", "Soft Cell - Tainted Love (Official Music Video)", "The Human League - Don't You Want Me (Official Music Video)", "Duran Duran - A view to a Kill", "Talk Talk - Life's What You Make It (HD)", "Alphaville - Sounds Like A Melody", "Eurythmics, Annie Lennox, Dave Stewart - Sweet Dreams (Are Made Of This) (Official Video)", "Pet Shop Boys - It's A Sin (Official Video) [HD REMASTERED]", "Tears For Fears - Shout (Official Music Video)", "Gary Numan - Are Friends Electric", "Bronski Beat - Smalltown Boy ORIGINAL VIDEO" ], "playlistID": "PLb15rbk6I4pOoTd0nh7JxJWLjCiP880uV", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOoTd0nh7JxJWLjCiP880uV", "spotify-playlist-link": "https://open.spotify.com/playlist/7JJkjbAM7vErdnOvewYRVf?si=ElAGibY9TYGT00ZbTDiG1w", "name_zh": "合成器流行 & 新浪漫" }, "hcp01": { "name": "ORIGINAL HARDCORE (PUNK)
原始硬核朋克", "year": "1980", "supergenre-first-tag": "HARDCORE", "description": "
如果朋克幸存了下来，那一定是在硬核（Hardcore）的精神中。只有这种不废话的摇滚才承载着朋克典型的爆发性能量，甚至更进一步。硬核朋克（Hardcore Punk）极其快速、原始、沉重和爆炸性。许多硬核歌曲甚至不到两分钟。只是用鼓、吉他和喊叫、愤怒的人声给脑袋来一脚。音乐中可感知的无政府状态和混乱（就像朋克一样）似乎与硬核有序的生活方式直接相反：硬核艺术家和粉丝通常以清教徒式、非享乐主义、严格和忠诚而闻名。一些亚群体对此非常认真（几乎军事化），并有自己的子流派如直刃（Straight-Edge）。\n\n这一悖论（无政府对秩序）的原因可以由硬核的内核——其本质——来解释：抗议。硬核的一切都是关于对社会、政府和生活方式——一个完美主义的人类原型——的批判。原始硬核迅速走红，留下了一长串子流派：Straight-Edge（非常纯粹主义和充满自尊）、Bent-Edge（更多是相反）、Beatdown Hardcore（非常沉重和较慢，通向Deathcore）、Nardcore（加州地方场景），以及最后但并非最不重要的旋律硬核（Melodic Hardcore/Melocore）。代表乐队包括Black Flag、Minor Threat、Bad Brains以及Dead Kennedys。
If Punk did survive, then it was in the spirit of Hardcore. Only this kind of no-nonsense rock harbored the bursting energy typical of Punk and even took it a step further. Hardcore (Punk) is extremely fast, raw, heavy and explosive. Many hardcore songs are even less than two minutes. It’s just a kick in the head with drums, guitars and shouting, angry vocals. The anarchy and chaos tangible in the music (just like Punk) seems to be the direct opposite of Hardcore’s disciplined lifestyle: Hardcore artists and fans are often known to be puritanical, non-hedonistic, strict and loyal. Some subgroups take this very seriously (almost militant) and have their own subgenres such as Straight-Edge. The reason for this paradox (anarchy versus order) can be explained by the inner core of hardcore, its essence: protest. Hardcore is all about critique on society, government and lifestyle.

Original Hardcore rose fast to popularity, leaving a long trail of subgenres in its wake: Straight-Edge (very purist and full of selfrespect), Bent-Edge (more the opposite), Beatdown Hardcore (very heavy and slower, leading to Deathcore), Nardcore (local California scene), and last-but-not-least Melodic Hardcore, which traded some velocity and fierceness for melody. New York was (and still is) one of the most important spawning pools of Hardcore, which led to the term New York Hardcore (N.Y.H.C.), but this is not really a separate subgenre.
", "songlist": [ "Black Flag - Rise Above", "Minor Threat - Filler", "Bad Brains - Sailin' On", "CIRCLE JERKS-WILD IN THE STREETS", "Cro-Mags - Hard Times", "Dead Kennedys California Über Alles", "Agnostic Front - Victim In Pain", "The Blood & the Sweat", "Madball - Pride (times are changing) (Lyrics)", "Rise Against - Heaven Knows HQ", "Strike Anywhere - ＂Infrared＂ Jade Tree Records - Official Music Video" ], "playlistID": "PLb15rbk6I4pMoocARIV7dyxPo5LYOZZhf", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMoocARIV7dyxPo5LYOZZhf", "spotify-playlist-link": "https://open.spotify.com/playlist/3atLJO45AMfVWn4JMm7YQW?si=Zb25di-YQJmuRRXg4vjBOw", "name_zh": "原始硬核朋克" }, "hcp02": { "name": "CROSSOVER THRASH
跨界鞭挞", "year": "1983", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "METAL" ], "description": "
原始硬核在崛起后迅速分裂成许多重要的子流派：旋律化的Melocore、冷酷的Powerviolence，以及朋克融合硬壳朋克（Crust-punk）和Discore。此后，两种重型吉他流派（金属与硬核）的自然融合导致了一个庞大、难以定义的音乐家族，称为交叉鞭击（Crossover Thrash）。因为Thrash一词也是原始硬核的早期同义词，Crossover Thrash实际上有两重解释：硬核交叉到鞭击金属（Thrash Metal），以及反过来。在这个侵略性的流派漩涡中，我们发现了一个新的：Thrashcore或Fastcore。硬核朋克变得更快，歌曲更短，迫使鼓手采用一种新的鞭击式鼓法以匹配疯狂的速度，称为Blast Beats（爆裂节拍）。\n\n一些硬核乐队，如Suicidal Tendencies和Bad Religion，创造了一种与滑板亚文化紧密相连的更快类型的音乐。这种早期形式或第一波滑板朋克（Skate Punk）与Thrashcore有大量相似之处。因为许多相关乐队在所有这些流派（滑板朋克、Thrashcore以及两种鞭击交叉）中进行实验，它们的音乐交叉形成了一个有趣、模糊的风格混合体，统称为Crossover Thrash。
Original Hardcore rapidly splintered into many important subgenres after its rise: the melodic Melocore, the ruthless Powerviolence, and the Punk fusions Crust-punk and Discore. Hereafter the natural fusion of two heavy guitar genres (Metal & Hardcore) led to a large, hard-to-define family of music, known as Crossover Thrash. Because the word Thrash is also an early synonym for Original Hardcore, Crossover Thrash actually has a two-way interpretation: Hardcore crossing over into Thrash Metal and the other way around. Within this aggressive whirlpool of genres, we find a new one: Thrashcore or Fastcore. Hardcore Punk became even faster, with even shorter songs, forcing the drummer to incorporate a new style of thrashing drumwork to match the insane tempo, called “Blast Beats”. Some Hardcore bands, such as Suicidal Tendencies and Bad Religion, created a faster type of music strongly linked to the Skater subculture. This early form or first wave of Skate Punk shared a lot of similarities with Thrashcore. Because many related bands experiment with all these genres (Skate Punk, Thrashcore, and both Thrash crossovers), their musical crossovers form an interesting, blurry mix of styles conjoined as Crossover Thrash; a noun often forgotten in favor of its more successful successors Grindcore and Metalcore. Crossover Thrash glorifies brevity: there’s not a moment to waste and even band names become abbreviated to signify a concentrated essence of purity and an acronym emanating power.
", "songlist": [ "Bad Religion - Against The Grain", "Stormtroopers of Death - Bigger Than the Devil", "Suicidal Tendencies - Two Sided Politics (Original Version)", "D.R.I. - Abduction - Thrash Zone -", "Municipal Waste - The Art of Partying", "Septic Death-Terrorain", "Lärm ： ＂Metal Attitude Sucks＂", "Does Your Daddy Know？ - Limp Wrist", "Das Oath - Blood Oranges", "Electro Hippies - Am I Punk Yet？" ], "playlistID": "PLb15rbk6I4pOQnT4X9A0zvyL1q5Auwr9c", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOQnT4X9A0zvyL1q5Auwr9c", "spotify-playlist-link": "https://open.spotify.com/playlist/3jgm78MImLDI6vvYlwMTsx?si=8dQSRbdyQmK8dv-p-S_OMQ", "name_zh": "跨界鞭挞" }, "hcp03": { "name": "GRINDCORE
碾核", "year": "1986", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "METAL" ], "description": "
很快，硬核世界中涌现出一个新流派，甚至比速度金属（Speed Metal）或任何其他流派更快。碾核（Grindcore）可以说是音乐世界中最极端的流派之一。它以极速、碾磨般的电锯吉他、爆裂的歌词和特殊的、超高速的重复性以及机枪般的鼓点（称为blast beats）为特征。凭借其不确定的歌曲结构和最大限度的失真与速度，碾核可能看起来是终极抗议流派，但它在追求挑衅和极端性中失去了这种本质。\n\n几乎所有的碾核都试图尽可能血腥、令人震惊和政治不正确，导致了根据主题命名的可疑子流派，如色情碾核（Pornogrind）和血腥碾核（Goregrind）。虽然碾核并非起源于（第一波）死亡金属（Death Metal），但两种流派在声音实验和对痛苦主题歌词的热爱方面有大量相似之处，并在各自演变过程中相互影响。代表乐队包括Napalm Death——公认的碾核创始人、Carcass（早期）、Brutal Truth以及Pig Destroyer。
Soon a new genre emerged in the world of Hardcore, even faster than Speed Metal (or anything else). Grindcore is arguably one of the most extreme genres in the world of music. It is characterized by maximum-speed, ‘grinding’ buzzsaw guitars, bursting lyrics and special, hyperspeed repetitiveness and machinegun-like drum kicks (known as blast beats). With its non-defined song structure and maximal distortion and speed, Grindcore could appear as the ultimate protest genre, but it has lost this essence in its pursue for provocation and extremity. Almost all Grindcore tries to be as gory, shocking and politically incorrect as possible, leading to subgenres with dubious names depending on subject matter such as Pornogrind and Goregrind. Although Grindcore did not originate from (the first wave of) Death Metal, both genres share much resemblance in their sound experimentation and their love for lyrics about pain and have been influencing each other during their respective evolution.
", "songlist": [ "Napalm Death - Twist the Knife (Slowly)", "Extreme Noise Terror - Raping the Earth [Official Video]", "Heresy - Blinded by Power", "Carcass - Corporal Jigsore Quandary (Official Video)", "BRUTAL TRUTH - ＂Sugar Daddy＂ (Official Music Video)", "Haemorrhage - Flesh-devouring Pandemia", "You're a Cop - Anal Cunt from I Like it When You Die", "PIG DESTROYER - ＂Loathsome＂ (Official Music Video)", "Grotesque Laceration of Mortified Flesh" ], "playlistID": "PLb15rbk6I4pMEV8orDwIqb-G4X547CaVY", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMEV8orDwIqb-G4X547CaVY", "spotify-playlist-link": "https://open.spotify.com/playlist/4u7jcBXPyaySY22vqpY5PN?si=-r3kH5xYQWeTzLDP6IpWww", "name_zh": "碾核" }, "hcp04": { "name": "POST-HARDCORE, EMO & SCREAMO
后硬核 / 情绪核 & 尖叫核", "year": "1989", "supergenre-first-tag": "HARDCORE", "description": "
后硬核（Post-Hardcore）既可以是一个独立的流派，也可以作为任何纯硬核衍生品的总称（即没有金属联系的）。正如后朋克（Post-Punk）与朋克不同，后硬核与硬核也不同——作为该流派不那么爆发性、不那么具攻击性的延续（尽管仍比其他摇滚流派更重）。后硬核实现了更长、更复杂的编排，速度变化为硬核增添了某种交替的动态。除了尖叫或低吼，后硬核也允许正常的人声，通常是哀叹压抑或内省的想法。类似于流行朋克（Pop Punk）或新金属（Nu Metal），它是所谓疗愈摇滚（Therapy Rock）的一个典型例子：音乐作为自我心理学。\n\n后硬核可分为三波。第一波始于八十年代中期，只包含一些先锋乐队。在第二波中，后朋克连同其Dub和融合影响进一步将后硬核塑造成一个多才多艺的冒险家。第三波和最重要的一波包含了尖叫（Screamo）和情感硬核（Emocore/Emo）：一个诗意、情感化的流派，具有安静、较慢的段落和更具艺术性的歌词。Emo试图打破与原始硬核的联系——后者被认为过于保守和清教徒式。代表乐队包括Fugazi、Rites of Spring、Sunny Day Real Estate以及At the Drive-In。
Post-Hardcore can be either a genre on its own or an umbrella term for any “pure” Hardcore-derivative (i.e. without links to Metal). Just like Post-Punk differs from Punk, so does Post-Hardcore differ from Hardcore as a less bursting, less aggressive continuation of the genre (though still more heavy than other Rock genres). Post-Hardcore implements a longer and more complex arrangement, with tempo changes adding a certain alternating dynamic to Hardcore. Besides screaming or grunting, Post-Hardcore also allows “normal” vocals, usually wailing about depressing or introspective thoughts. Similar to Pop Punk or Nu Metal, it is a prime example of so called “Therapy Rock”: music as self-psychology.

Post-Hardcore is dividable into three waves. The first one started in the mid eighties and encloses only a number of avant-garde bands. In the second wave, Post-Punk along with its Dub and Fusion influences further molded Post-Hardcore into a versatile adventurer. The third and most important wave encompasses Screamo and Emocore (or Emo): a poetic, emotional genre with quiet, slower passages and more artistic lyrics. Emo tries to break the ties with Original Hardcore, which was deemed too conservative and uniform. Screamo (a variant of Emo) adds screaming vocals. In the nillies, Screamo gets further detached from Hardcore (towards Metal) and becomes more polished while riffs become more metallic.

Post-Hardcore is still a very large and living genre, with recent yet dubious subgenres, such as “Crabcore”. Mathcore (listed on the Carta as a sibling to Math Rock) is often also regarded as a part of Post-Hardcore.
", "songlist": [ "Diane", "Faith - no choice⧸subject to change", "Trigger", "Rites of Spring- End on End", "No More Pain", "Moss Icon - Guatemala", "Off Minor- The Heat Death of the Universe", "envy - A Far-Off Reason", "Jeromes Dream - It's More Like A Message To You", "Underoath - Writing On The Walls (Official Video)" ], "playlistID": "PLb15rbk6I4pPjpPTj62qCrqiHxM_b4sle", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPjpPTj62qCrqiHxM_b4sle", "spotify-playlist-link": "https://open.spotify.com/playlist/5x6m5mMMlHWtTXz4rQMwlN?si=vjjOE6SDRimnDeQm8Ys3Kw", "name_zh": "后硬核 / 情绪核 & 尖叫核" }, "hcp05": { "name": "MATH ROCK & MATHCORE
数学摇滚 & 数学核", "year": "1992", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "ALTERNATIVE" ], "description": "
如果存在智能摇滚音乐（Intelligent Rock Music或IRM）这种东西，它很可能就是数学摇滚（Math Rock）。先驱艺术家可以追溯到1988年，但数学摇滚在后摇滚（Post Rock）出现后才获得成熟形式。其名称源自对不对称复杂拍号的实验，产生锯齿状和混沌的声音。这些实验如此技术性且深远，以至于数学化是描述它们的恰当方式。特别是明显的鼓节奏（带有中断和打断）被这样处理。鼓取代人声成为主导，后者（连同歌词）变得不那么重要。\n\n数学摇滚和数学核（Mathcore）显然有一个共同的数学维度，但它们是截然不同的流派。1993年，Mathcore的早期痕迹出现；是后来金属核（Metalcore）的先驱。因为Mathcore是沿着Metalcore演变的，并最终成为其子流派，Mathcore与数学金属（Math Metal）之间的区别最小。实际上，直到1999年（Metalcore之后），Mathcore这个短语才被创造出来。在此之前，它被称为定义松散的无序核（Noisecore）。Mathcore将硬核和金属的速度与能量，与后摇滚的复杂性和非结构性相结合。代表乐队包括Don Caballero、Slint、Battles以及The Dillinger Escape Plan。
If there would be such a thing as “Intelligent Rock Music” or “IRM”, it would probably be Math Rock. Pioneering artists can be traced back as early as 1988, but Math Rock takes its mature form after the emergence of Post Rock. Its name is derived from experimenting with asymmetrical complex time signatures that give a jagged and chaotic sound. These experiments are so technical and far-reaching, that “mathemical” is a proper way to describe them. Particularly the pronounced drum rhythms (with breaks and interrupts) are treated this way. Drums take lead over voice, which becomes (along with the lyrics) less important.

Math Rock and Mathcore obviously have a common “mathematical” dimension, but they are very different genres. In 1993, the first traces of Mathcore appear; a forerunner of the later Metalcore. Because Mathcore evolved alongside Metalcore and eventually becomes a subgenre of it, the difference between Mathcore and Math Metal is minimal. In fact, it wasn’t until 1999 (after Metalcore) that the phrase Mathcore was coined. Before that, it was known as the loosely defined Noisecore. Mathcore combines the speed and energy of Hardcore and Metal with the complexity and non-structure of Jazz and unconventional Classical Music.
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金属核 / 美国重金属新浪潮", "year": "1999", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "METAL" ], "description": "
为了防止新金属（Nu Metal）成为重金属历史的最后一章，并证明金属将在21世纪生存下去，模糊的术语NWOAHM（美国重金属新浪潮 New Wave of American Heavy Metal）被构想出来。这远非必要，因为金属可能是所有超级流派中唯一一个所有不同风格仍然被密集实践和表演的。起初，这一波美国乐队似乎只在对新金属的立场上统一起来，但逐渐地，一个具体、定义明确的流派展开了，称为金属核（Metalcore）。\n\n必须指出，金属核在新金属之前已有漫长且实验性的历史，在交叉鞭击（Crossover Thrash）后不久出现，但在九十年代中期前一直保持相对晦涩。与碾核（Grindcore）互相激化走向极端不同的是，金属核是硬核和（死亡）金属元素的平衡混合，这无疑导致了更长、更复杂的歌曲。歌曲结构和心态仍然是硬核的，但鼓点较慢，吉他是金属式的单音。金属核是最不情感化的硬核类型，这导致了超理性的、技术性的Mathcore或Math Metal和Math Rock。代表乐队包括Killswitch Engage、As I Lay Dying、Shadows Fall以及Trivium。
In a desperate attempt to prevent Nu Metal from remaining the last chapter in the history of Heavy Metal and to prove that Metal would survive in the 21st century, the ambiguous term NWOAHM (New Wave of American Heavy Metal) was conceived. This was far from necessary, as Metal is perhaps the only super-genre were all different styles are still being practiced and performed intensively. At first, this wave of American bands seemed only unified in their stance against Nu-Metal, but gradually a specific, well-defined genre unfolded, named Metalcore. It must be noted that Metalcore already had a long and experimental history before Nu Metal, emerging shortly after Crossover Thrash, but remaining rather obscure before the mid nineties. Instead of mutually aggravating each other towards the extreme like Grindcore, Metalcore is a balanced mix of Hardcore and (Death) Metal elements, which undoubtedly has led to longer, more complex songs. The song structure and mentality is still Hardcore, but with a slower drum beat and metallic single note guitars. Metalcore is the least emotional type of Hardcore, which has led to the hyperrational, technical Mathcore or Math Metal and Math Rock. Other, lesser known subgenres include Melodic Metalcore, Noisecore, Deathcore, and Nintendocore. Metalcore is a forced marriage between Hardcore Punk and Metal in order to save both genres their legacies, despite mutual differences. Nevertheless, Metalcore’s numerous offspring subgenres prove the healthiness of this marriage in one way or another.
", "songlist": [ "Killswitch Engage - The End Of Heartache", "Bullet For My Valentine - Your Betrayal (Official Video)", "SHADOWS FALL - In Effigy (OFFICIAL VIDEO)", "CHIMAIRA - Resurrection (OFFICIAL MUSIC VIDEO)", "Lamb of God - Laid to Rest (Official HD Video)", "GOD FORBID - Anti Hero (OFFICIAL VIDEO)", "Hatebreed - ＂Destroy Everything＂ - official music video", "Avenged Sevenfold - Nightmare [Official Music Video]", "Corrosion Of Conformity - Drowning In a Daydream", "Unearth - My Will Be Done (OFFICIAL VIDEO)", "ALL OUT WAR - Soaked In Torment" ], "playlistID": "PLb15rbk6I4pPQTgsklM0cQAwl7YkdAzHS", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPQTgsklM0cQAwl7YkdAzHS", "spotify-playlist-link": "https://open.spotify.com/playlist/6fpiDf9BceNyzUaIxpk6LV?si=BJM9hntwQh2iZro-iC3K5g", "name_zh": "金属核 / 美国重金属新浪潮" }, "hcp07": { "name": "SYNTHCORE & CRUNKCORE
合成器核 & 旷克核", "year": "2003", "supergenre-first-tag": "HARDCORE", "description": "
二十多年后，硬核的纯粹性通过在简单、严格的摇滚乐器配置之上加入音序器和合成器而蒸发。然而，硬核一直是一个有跨界倾向的流派，无论是朋克、斯卡（Ska）、金属还是说唱。电子核（Electronicore/Synthcore/Trancecore）是带有对比性（默认情况下）合成器旋律的金属核，产生了一些有趣而出乎意料的声音。有时歌手也使用Autotune，这使得电子核听起来比其他硬核流派更流行和商业化。\n\n另一个类似且同样是硬核朋克的极端跨界——在大约同一时间演变——是Crunkcore（又名Crunk Punk、Screamo-Crunk或Scrunk）。Crunkcore是Screamo和Crunk（一种南方说唱形式）的意外融合。Crunkcore像Synthcore一样也使用Autotune和EDM（特别是Techno）的影响。Crunkcore几乎没有硬核精神：几乎每首歌的底线都围绕着疯狂派对戏剧，仿佛南方说唱歌手试图在大学派对上伪装成兄弟会硬核乐队。Synthcore和Crunkcore之间的差异很大，但它们都代表着硬核的一种形式，其中电子和说唱影响如此根本，以至于硬核变成了一层薄薄的外壳。
After more than twenty years, the purity of Hardcore evaporated by adding sequencers and synthesizers on top of its simple, strict Rock instrumentarium. However, Hardcore has always been a genre with a tendency to crossover, whether it’s Punk, Ska, Metal, or Rap. Electronicore or Synthcore (or Trancecore) is Metalcore with contrasting (by default) synth melodies, which makes for some interesting unexpected sounds. Sometimes the singer also uses Autotune, which makes Electronicore sound more poplike and commercial then other Hardcore genres.

Another similar and extreme crossover of Hardcore Punk, evolving around the same time, is Crunkcore (aka Crunk Punk, Screamo-Crunk or Scrunk). Crunkcore is the unexpected fusion of Screamo and Crunk (a form of South Rap). Crunkcore also uses Autotune and influences from EDM (particularly Techno) like Synthcore. Crunkcore has very little Hardcore spirit left: the bottom line of almost every song evolves around a frantic theatrics of “partyin’ down”, as if southern rappers tried to disguise themselves as a fraternity hardcore band at a college party.

The difference between Synthcore and Crunkcore is large but they both represent a type of Hardcore that strays far away from its roots into unknown territory. With Synthcore’s “dangerous” leap towards Electronic music, confusion in the world of genres is at an all-time high, as both (Hardcore) Techno and (Hardcore) Punk spawn different types of “-cores” with identical names (such as Trancecore). However, a fusion is never out of reach; as speed, loudness and discipline tie these outer worlds together.
", "songlist": [ "Attack Attack! - The Wretched (Official Music Video)", "Enter Shikari - Anaesthetist (Official Music Video)", "I See Stars - Mobbin' Out", "We Butter The Bread With Butter - Meine Brille (Official Video)", "Abandon All Ships - Take One Last Breath (Official Music Video)", "Brokencyde-Get Crunk-NEW SONG!!!!", "Dropping A Popped Locket - We're Platinum", "3OH!3 - DON'T TRUST ME [OFFICIAL MUSIC VIDEO]", "Family Force 5 - Chainsaw Official Music Video (Feat. Tedashii)", "Go Kindergarten (feat. Robyn & Sean Combs & Paul Rudd)" ], "playlistID": "PLb15rbk6I4pOGImHE9Eb_qlbAGnNAPfc2", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOGImHE9Eb_qlbAGnNAPfc2", "spotify-playlist-link": "https://open.spotify.com/playlist/6W3XctsAXiLIHKhXY9JjSd?si=K9IlMV-GRr682_ffHE39LA", "name_zh": "合成器核 & 旷克核" }, "alt01": { "name": "JANGLE POP / INDIE ROCK (& PAISLEY UNDERGROUND)
叮当流行 / 独立摇滚 / 佩斯利地下", "year": "1985", "supergenre-first-tag": "ALTERNATIVE", "description": "
到八十年代末，硬摇滚的力量或朋克摇滚的精神似乎无处可寻。大多数摇滚已变得电子化和商业化（合成器流行 Synthpop）。许多X世代摇滚艺术家试图远离大型唱片公司（Majors），以防止他们的音乐屈服于同样的命运，转而投靠较小的独立厂牌（Indies），在那里他们有自由制作自己喜欢的东西：严肃、低沉的摇滚，带有沉重、失真的吉他riff，通常涉及情感困扰或悲剧性想法。许多后来成为大公司的重要独立厂牌都是这一时代的一部分：SST、Dischord和Sire Records。\n\n另类摇滚（Alternative Rock）以通过团队合作、大学电台支持和同行协作的完全自制过程为荣。音乐有意识地参与关于音乐产业的辩论，强烈反对MTV、音乐录影带和光盘，支持黑胶唱片和艺术性平面设计。为加强和证明自己的观点，独立摇滚经常使用客体化歌词而非个人视角。早期另类摇滚主要是大学电台音乐（因此面向并服务于学生），具有Jangle Pop的刺耳、明亮的吉他声。一个称为Paisley Underground的迷幻复兴运动也在同一社区内出现。代表乐队包括R.E.M.、The Smiths、Sonic Youth以及Pixies。
By the end of the eighties, the power of Hard Rock or the spirit of Punk Rock seemed nowhere to be found. The majority of Rock had become electronic and commercialized (Synthpop). Many Generation X rock artists tried to stay away from the big record companies (the “Majors”) to prevent their music from succumbing to the same fate and turned to smaller, independent labels instead (the “Indies”), where they had the freedom to make what they liked: serious, downbeat rock with heavy, distorted guitar riffs, often dealing about emotional troubles or tragic thoughts. Many important indies (who later became majors) were part of this era: SST, Dischord, and Sire Records. Alternative Rock takes pride in an entirely self-made process through teamwork, college radio support, and peer collaborations. The music consciously partakes in the debate about music industry, with a strong stance against MTV, video clips, compact discs, and a stance pro vinyl and artistic graphic design. To strengthen and justify its own point of view, Indie Rock often uses objectified lyrics instead of a personal perspective.

Early Alternative Rock music was primarily college radio music (thus for and by students), with jangly guitars and a minimal attention to rhythm. Therefore it became known as “Jangle Pop”. Closely related and heavily overlapping with college Jangle Pop was the Paisley Underground movement (named after the artists their retro psy paisley shirts) : a revival of 60s Psychedelic Rock in L.A. with a variety of Rock and Folk influences, fueled by a loathing escape from Glam Metal.
", "songlist": [ "Pixies - Where Is My Mind", "There Is a Light That Never Goes Out (2011 Remaster)", "R.E.M. - Losing My Religion (Official HD Music Video)", "ORANGE JUICE- Felicity", "The Replacements - Alex Chilton", "Camper Van Beethoven - Take the Skinheads Bowling", "Operation Spirit", "Dream Syndicate - Bullet with my name on it", "GREEN ON RED Time Ain't Nothing", "Rain Parade - No easy way down" ], "playlistID": "PLb15rbk6I4pMd3nXvj52focPkxEP_Bw28", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMd3nXvj52focPkxEP_Bw28", "spotify-playlist-link": "https://open.spotify.com/playlist/20oavEr4P8tYbvsgH0fBBg?si=jbJ2--e2TWiwjrPskw5sgQ", "name_zh": "叮当流行 / 独立摇滚 / 佩斯利地下" }, "alt02": { "name": "NOISE ROCK
噪音摇滚", "year": "1986", "supergenre-first-tag": "ALTERNATIVE", "description": "
噪音摇滚（Noise Rock）比其前身No Wave开始得晚得多（约1986-87年），作为一个虽小但有影响力的分支。某种程度上，这个流派是硬核朋克和另类摇滚之间的一种缺失环节。不仅受到硬核的攻击性的启发，也受到其严格和无毒生活方式的影响，噪音摇滚刻意背弃了最终朋克摇滚运动的过度。噪音摇滚艺术家喜欢朋克摇滚，但他们被它变成的样子所排斥。理想主义和革命被漠不关心和链条挑衅所取代。\n\n基于原初朋克摇滚的实验性和No Wave的虚无主义和破坏性心态，噪音摇滚利用这种厌恶来为高辛烷值的仇恨歌曲提供燃料。不出所料，噪音摇滚极其无调性/不和谐，带有大量的吉他反馈。这是为了防止歌曲的任何毫秒没有被噪音饱和。Riff比硬核朋克慢，但比大多数摇滚快，通常在低频。歌手以一种让人几乎听不懂或极具冒犯性的方式，用尽全部肺活量尖叫愤怒的歌词。结果是所有流派——包括碾核和黑金属——中最混乱流派的有力竞争者。代表乐队包括Big Black、Shellac、The Jesus Lizard以及Lightning Bolt。
Noise Rock started much later than its predecessor No Wave (around 1986-’87) as a small but influential offshoot. In a way, the genre is a sort of missing link between Hardcore Punk and Alternative Rock. Inspired by not only Hardcore’s aggression but also its strict and drug-free lifestyle, Noise Rock deliberately turned its back on the excesses of the final Punk Rock movement. Noise Rock artists liked Punk Rock, but they were repulsed by what it had turned into. Idealism and revolution were replaced by nonchalance and chain tweaking. Based on Proto Punk Rock’s experimentation and No Wave’s nihilistic and destructive mentality, Noise Rock used that aversion to fuel songs of high-octane hate. Unsurprisingly, Noise Rock is extremely atonal/dissonant with massive guitar feedback. This just in case some milliseconds of the song would not be saturated with noise. Riffs are slower than Hardcore Punk, but faster than most Rock and often at low frequency. Singers scream angry lyrics on (or over) the top of their lungs that usually make no sense whatsoever or are highly offensive. The result is a serious contender for the most chaotic of all genres including Grindcore and Black Metal. Besides the US, Japan is a large distributor of Noise Rock (the country’s history of chaotic music is unparalleled worldwide). Noise Rock should not be confused with Noise Pop, which is related but very different and more similar to Dream Pop. Though small and unpopular, Noise Rock was a great influence on later music genres, such as Sludge (thanks to the Melvins) and Grunge.
", "songlist": [ "Sonic Youth - Cotton crown", "The Jesus Lizard - Nub - Music Video", "Pussy Galore - Evil eye", "Boredoms - Acid Police", "Too Many Humans", "Dracula Mountain" ], "playlistID": "PLb15rbk6I4pPaNIk32ltfuh0SsR1kWeCf", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPaNIk32ltfuh0SsR1kWeCf", "spotify-playlist-link": "https://open.spotify.com/playlist/3Rex91WiXLpNLi4L8xfBPJ?si=AbAgF7ufQfWzUUXnJ1z-gQ", "name_zh": "噪音摇滚" }, "alt03": { "name": "DREAM POP & SHOEGAZE
梦幻流行 & 盯鞋/自赏", "year": "1988", "supergenre-first-tag": "ALTERNATIVE", "supergenre-second-tag": [ "master", "POP" ], "description": "
从八十年代中期到九十年代初期，一个庞大的迷幻-另类摇滚场景从更晦涩的Paisley Underground运动中绽放出来。正如Paisley Underground一样，这场迷幻摇滚复兴——称为新迷幻（Neo-Psy）——基于六十年代的刺耳吉他和大量声音效果。大约在1982-83年，梦幻流行（Dream Pop）从Neo-Psy分支出来：一个更柔和、更具氛围的版本，实际上是一种原始后摇滚（Proto-Post-Rock）。后来，Neo-Psy的一部分演变成一种新型的酸性独立摇滚（Acid Indie Rock），称为自赏（Shoegaze/Shoegazing），但有时Dream Pop和Shoegaze被用作可互换的术语。\n\nShoegaze充满了分层、严重失真的吉他（带反馈），相互冲刷以创造一种太空感、有氛围、有质感的声音，有时被称为噪音墙（wall of noise）。然而这种音乐（就像Stoner Rock一样）并非真正的噪音，只是非常嗡鸣、响亮和迷幻。Shoegaze这个名字源于一些艺术家在表演时实际上盯着他们的鞋子。在曼彻斯特，一个影响深远的夜生活场景围绕独立的迷幻摇滚演变，产生了诸如Madchester等流派。代表乐队包括My Bloody Valentine、Cocteau Twins、Slowdive以及Ride。
From the mid-eighties till the early nineties a large psychedelic-alternative Rock scene blossomed out of the more obscure Paisley Underground movement. Just like the Paisley Underground, this Psychedelic Rock revival - known as Neo-Psy - was based on sixties’ jangly guitars and many sound effects. Around 1982-’83, Dream Pop branches off from Neo-Psy: a softer, more ambient version and in fact a kind of Proto-Post-Rock. Later, a part of Neo-Psy evolved into a new kind of “Acid Indie Rock”, called Shoegaze or Shoegazing, but sometimes Dream Pop and Shoegaze are used as interchangeable terms. Shoegaze is filled with layered, heavily distorted guitars (with feedback), washing over each other to create a spacy, atmospheric, textured sound, which is sometimes referred to as a “wall of noise”. Yet this music is (just like Stoner Rock) not really noise, just very droning, loud and psychedelic. The name Shoegaze was derived from the fact that some artists actually stared at their shoes while performing. Neo-Psy, including Dream Pop and Shoegaze, continues in the nineties, forming a parallel stream next to other Alternative Rock.

In Manchester, an influential nightlife scene evolved around Shoegaze. This scene was dubbed “Madchester” or “Baggy” (because of the artists their baggy trousers), where Indie and Acid Rock played alongside (Acid) House, bridging two separate party worlds within sacred dance temples of drugs and ecstasy (such as the legendary Hacienda club). Madchester is a genre more defined by its geographical origin and its leading label Factory Records than anything else, but extremely entertaining nevertheless.
", "songlist": [ "Cocteau Twins - Pearly Dewdrops' Drops (Official Video)", "This Mortal Coil - Song To The Siren (Official Video)", "A.R. Kane ⧸ Green Hazed Daze (1988)", "The Jesus And Mary Chain - Just Like Honey (Official Music Video)", "The Telescopes - Celeste", "Curve - Horror Head (Video)", "Chapterhouse - Pearl", "Slowdive - Crazy for You (Audio)", "The Snake Corps - This is a Seagull", "The Stone Roses - I Wanna Be Adored (Official Video)", "Happy Mondays - 24 Hour Party People (Official Video)" ], "playlistID": "PLb15rbk6I4pP0AJtP46Lo7KpKvf1ti3yH", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP0AJtP46Lo7KpKvf1ti3yH", "spotify-playlist-link": "https://open.spotify.com/playlist/4SwdIZAcV5fKtkqbwGMDmi?si=E7AeeIXXRjiei49dhLkhcA", "name_zh": "梦幻流行 & 盯鞋/自赏" }, "alt04": { "name": "GRUNGE
垃圾摇滚", "year": "1989", "supergenre-first-tag": "ALTERNATIVE", "supergenre-second-tag": [ "slave", "(metal)" ], "description": "
八十年代许多音乐对华丽和时尚的关注成为一场激烈的反运动的催化剂。激烈可能不是确切的词。作为华丽摇滚（Glam Rock）的完全对立面，这种所谓的垃圾摇滚（Grunge，这个名字是可怕嘈杂摇滚的贬义俚语）是谦逊和内敛的，以关于悲剧和挫折的真诚歌曲为特征。另一方面，声音是肮脏的、失真的、低保真的、复古的和嘎吱作响的，仿佛是由意外创作而成。Grunge通常在音箱上使用失真，创造出更具磨蚀性的声音。Grunge时尚强化了这种漠不关心的概念：蓝色牛仔裤、羊毛伐木工衬衫，以及肮脏、邋遢的长发。\n\nGrunge短暂但聚集人群的音乐革命始于寒冷而偏远的西雅图市。八十年代西雅图音乐场景的典型特点是经典金属和鞭击金属（Thrash Metal）的高度流行。当情感化的后硬核乐队遍布全美涌现时，这一流派与金属混合并成为Grunge（常有人说Grunge是一份金属加一份硬核/摇滚）。Grunge与第二波另类摇滚密切相关——后者是其直接结果。在消极情感语境中，关于抑郁、自杀和毒品滥用的主题占据主导地位。代表乐队包括涅槃（Nirvana）、珍珠果酱（Pearl Jam）、声音花园（Soundgarden）以及爱丽丝连锁（Alice in Chains）。
The focus on glamour and fashion in many eighties’ music formed the catalyst of a fierce anti-movement. Fierce may not exactly be the right word for it. Being the complete opposite of Glam Rock, this so-called “Grunge” (the name is negative slang for horrible noisy rock) was humble and inwards, with sincere songs about tragedy and frustrations. The sound on the other hand was dirty, distorted, lo-fi, vintage and crunchy as if it was composed by accident. Grunge often uses distortion on the amps, creating an even more abrasive sound. Grunge “fashion” reinforces such a notion of nonchalance: blue jeans, woolen lumberjack shirts, and dirty, sleazy long hair.

Grunge’s brief but crowd-gathering music revolution started all in the cold and remote city of Seattle. Typical about the Seattle music scene in the eighties was a high popularity of Classic and Thrash Metal. When emotional Post-Hardcore bands pop up all across the states, the genre gets mixed with Metal and becomes Grunge (it is often said that Grunge is one part Metal one part Hardcore/Rock). Grunge is closely related to the second wave of Alternative Rock, which was an immediate result of it. Within the negative emotional context of Grunge and Alt Rock, resorting to heroin use is not uncommon, further adding to the tragedy. The success of Grunge lies in the strength of a return to the mutual core of Rock and Blues. Something that had been lost along the way: raw, unbridled emotion that seemed so hard to bear that it even distorted the music itself.
", "songlist": [ "Nirvana - Smells Like Teen Spirit (Official Music Video)", "Pearl Jam - Alive (Official Video)", "Stone Temple Pilots - Plush (Official Music Video)", "Soundgarden - Black Hole Sun", "Alice In Chains - Man in the Box (Official Video)", "Green River - Unwind", "Hole - Celebrity Skin (Video)", "Screaming Trees - Dollar Bill", "Mother Love Bone - Bone China", "Babes In Toyland - Bruise Violet (Video)" ], "playlistID": "PLb15rbk6I4pNf8mAEdyGvpNJ3QNLllnTd", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNf8mAEdyGvpNJ3QNLllnTd", "spotify-playlist-link": "https://open.spotify.com/playlist/3dmFXNCciFaxIeZKW7hLTK?si=56plijwbTkaPO7Nk8X1OYQ", "name_zh": "垃圾摇滚" }, "alt05": { "name": "RAP ROCK / RAPCORE / FUNK METAL
说唱摇滚 / 说唱核 / 放克金属", "year": "1990", "supergenre-first-tag": "ALTERNATIVE", "supergenre-second-tag": [ "slave", "(rap)" ], "description": "
摇滚与说唱的结合起源于八十年代，源于Run DMC的制作人希望触及更大的观众并将Aerosmith的Walk This Way重新设计为一首说唱歌曲。但在九十年代初，一个真正的流派出现了：硬核另类（Hard Alternative）、说唱摇滚（Rap Rock）、说唱核（Rapcore）或放克金属（Funk Metal）。严格来说，这些都是不同的流派，但如此密切相关，以至于将它们分开毫无意义。简而言之，它们是更重、更快的另类摇滚类型，受到（经典东海岸）说唱音乐的强烈影响，共享同样的凶猛和反商业心态。\n\n歌词是快速的，以说唱式的方式（甚至是真正的说唱），音乐比其它类型的摇滚更具节奏感。摇滚和说唱艺术家都跨界到对方一边，但不幸的是该流派未能在主流排行榜中突破。即使是概念性的Judgement Day原声带——一个将更硬的摇滚乐队与侵略性说唱乐队组队的实验——也未能在商业上取得巨大成功。然而，这一流派在九十年代末对金属——称为新金属（Nu Metal）或说唱金属（Rap Metal）——产生了重大影响。代表乐队包括Rage Against the Machine、Red Hot Chili Peppers（Mother's Milk时期）、Faith No More以及311。
The combination of Rock and Rap found its origin in the eighties, with the desire of Run DMC’s producers to reach a bigger audience and restyle Aerosmith’s “Walk This Way” into a Rap Song. But at the start of the nineties, a real genre emerges: Hard Alternative, Rap Rock, Rapcore, or Funk Metal. Strictly speaking, these are all different genres but so closely related, it’s pointless to separate them. In short, they are heavier, faster types of Alternative Rock, with strong influences from (classic East Coast) Rap music, sharing the same ferocity and anti-commercial mindset. One must not forget after all, that Rap was still “fresh” in 1990 (especially in Europe) even though it was already sixteen years old. As a result, artists were eager to infuse Rap in contrasting genres such as Acid House and Hardcore/Alt Rock.

The lyrics are fast, in a raplike way (or even true raps), and the music is more rhythmical than other types of Rock. Both Rock and Rap artists crossed over to each other’s side, but unfortunately the genre didn’t break through in mainstream charts. Even the conceptual “Judgement Day” soundtrack - an experiment of teaming up harder Rock bands with aggressive Rap bands – failed to meet the (high) sale expectations.

Sometimes Rap Rock crosses over into anything remotely raplike, such as Funk (called Funk Metal, though it is barely Metal at all), Breakbeat, or even Reggae/Ragga. Rapcore (Hardcore + Rap) gradually became harder, more experimental and mixed with Metal, evolving into Nu-Metal or Rap Metal.
", "songlist": [ "Rage Against The Machine - Killing In the Name (Official HD Video)", "Kid Rock - Bawitdaba [Official Music Video]", "Faith No More - Epic (Official Music Video)", "Dog Eat Dog Who's the King？", "Red Hot Chili Peppers - Give It Away [Official Music Video]", "Bloodhound Gang - The Ballad Of Chasey Lain", "Urban Dance Squad - Demagogue", "Just Another Victim", "Judgment Night" ], "playlistID": "PLb15rbk6I4pPuSskwlKKF1UlOQRSV02pY", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPuSskwlKKF1UlOQRSV02pY", "spotify-playlist-link": "https://open.spotify.com/playlist/4ScQM5OOXeW5qUNICdGP9t?si=ct-xfWRUQVqF1vprYHNpoA", "name_zh": "说唱摇滚 / 说唱核 / 放克金属" }, "alt06": { "name": "SKATE PUNK & POP PUNK
滑板朋克 & 流行朋克", "year": "1992", "supergenre-first-tag": "ALTERNATIVE", "supergenre-second-tag": [ "master", "PUNK/WAVE" ], "description": "
滑板朋克（Skate Punk）和流行朋克（Pop Punk）在九十年代之前都已存在，但那时是相当晦涩的子流派，尤其是流行朋克。第二波或技术上这些流派的复兴，被Grunge的成功和随之而来的大型唱片公司对粗糙吉他音乐的兴趣所加速。流行朋克和滑板朋克传递着朋克的爆发性、大嘴巴的能量，整齐地塞进一件闪亮的流行外套中。后者由与滑板或极限/城市运动亚文化紧密相连的独立艺术家组成，而前者是针对（滑板）青少年的营销炒作的产物，其歌词严重缺乏完整性（如25岁的人假装还在上高中）。\n\n两种流派都强烈面向青少年/青春期，歌词试图在他们日常生活中产生意义（流行朋克乐队纯粹为此设计，像一支坏的男孩乐队）。心碎、毒品、友谊和反体制的主题——通常以叛逆的方式——对反应性青少年来说是完美的，但不会太露骨以便大量销售。然而滑板朋克可以深入得多并变得高度政治化，如反应性的Rock Against Bush运动所示。Pop Punk的关键在于旋律性、可及性和重复性，以吸引青少年的共鸣。代表乐队包括Green Day、The Offspring、Blink-182、NOFX以及Sum 41。
Both Skate Punk and Pop Punk already existed before the nineties, but were rather obscure subgenres at that time, especially Pop Punk. A second wave or technically a revival of these genres was accelerated by the success of Grunge and the interest in rough guitar music by major record labels that came along with it. Pop Punk and Skate Punk deliver the bursting, loud mouthing energy of Punk, neatly tucked into a flashy jacket of Pop. Where the latter genre consists of independent artists strongly linked to skater or extreme/urban sport subculture, the former is the product of a marketing hype towards (skater) teens, with a strong lack of integrity in their lyrics (like 25-year olds pretending to be still in high school).

Both genres are strongly teen/adolescent oriented, with lyrics that attempt to make sense in their daily lives (Pop Punk bands were purely designed for this like a “bad” boysband). Topics of heartbreak, drugs, friendship, and anti-establishment, often in a rebellious way, are perfect for the reactionary teenager but not too explicit to sell in large volumes. But Skate Punk can go much deeper and become highly political, such as the reactionary “Rock Against Bush” movement.

Both genres qualify as Punk Rock revivals, albeit with Metal and Grunge influences. Pop Punk and Skate Punk are Punk because they are aggressive with mainly short and explosive songs. On the other hand they are also Pop, with their melodic sing along tunes or even anthems.
", "songlist": [ "The Offspring - ＂Come Out And Play＂", "Don't call me white - Nofx", "Pennywise - Bro Hymn (Tribute)", "Rancid - Maxwell Murder (Lyrics)", "Sum 41 - In Too Deep", "blink-182 - What's My Age Again？ (Official Music Video)", "Good Charlotte - The Anthem (Official Video)", "New Found Glory - My Friends Over You (Official Music Video)", "No Doubt - Just A Girl" ], "playlistID": "PLb15rbk6I4pNpyBJd5CFbL44psIXYrn9b", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNpyBJd5CFbL44psIXYrn9b", "spotify-playlist-link": "https://open.spotify.com/playlist/68estp4PFGoE8jscfRxV3j?si=CDXPXn7KS5u_TOLoYZOmGw", "name_zh": "滑板朋克 & 流行朋克" }, "alt07": { "name": "ALTERNATIVE ROCK / INDIE ROCK II
另类摇滚 / 独立摇滚 II", "year": "1993", "supergenre-first-tag": "ALTERNATIVE", "description": "
另类摇滚（Alternative Rock）几乎从未被分为两个不同的流派，但就像Dubstep和Nu R&B一样，它应该被分开。在伟大的Grunge革命之后，独立摇滚经历了一次蜕变并分裂成许多子流派，它们都是以某种方式（积极）或另一种（消极）对Grunge的回应。许多独立摇滚艺术家将该流派变成了一种更黑暗、更重的版本，歌词中带有更多绝望的悲剧和愤怒的挫折。它也失去了一些硬核和DIY影响，歌曲变得更长、更复杂且制作更好。\n\n第二波另类摇滚不再是真正的另类，其艺术家越来越少地属于独立唱片公司。一些另类摇滚乐队甚至成为畅销明星，在（同样处于后Grunge繁荣状态的）摇滚音乐节上占据主导地位数十年。有了如此多聚光灯打在Alt Rock上，一个巨大的机会为无数独立女性主唱艺术家展现了——将摇滚音乐从一个充满男子气概、男性主导的堡垒倾斜为看起来像性别平等：可以说是音乐史上最大的解放浪潮。一些女性走得更远，创造了受朋克影响的女权主义子流派——暴女（Riot Grrrl）。代表乐队包括Radiohead、The Smashing Pumpkins、PJ Harvey、Hole以及Garbage。
Alternative Rock is almost never divided into two distinct genres, but just like Dubstep and Nu R&B, it should be. After the big Grunge revolution, Indie Rock experienced a metamorphosis and splintered in many subgenres, which were all a response to Grunge in one way (positive) or another (negative).

Many Indie Rock artists changed the genre into a darker, heavier version of itself, with more desperate tragedy and angry frustration in its lyrics. It also lost some of its Hardcore and DIY influences, with songs becoming longer, more complex and better produced. The second wave of Alternative Rock was no longer truly alternative, and their artists less and less a part of independent record labels. Some Alternative Rock bands even became bestselling stars, filling Rock festivals (also in an after-Grunge state of booming) for decades to come. With so many spotlights on Alt Rock, a tremendous opportunity unveiled itself for the innumerable amount of independent female front artists to tilt Rock music from a macho, male-dominated bastion into what appeared as gender equality: arguably the biggest emancipation wave in music history. Some women went further and created a Punk-influenced feminist subgenre, known as Riot Grrrl.

But instead of building further on Grunge’s legacy, a number of alternative subgenres reacted against it. There was too much stardom and too much focus from majors on Grunge and Alternative Rock. Kurt Cobain’s suicide (frontman of Nirvana) in 1994 was an immediate and cataclysmic consequence of this, which rocked the entire world of popular music to its foundation. Two underground subgenres emerged: the heavily under-produced Lo-Fi (Rock) and the minimal Slo(w)core aka Sadcore. Lo-Fi is primarily defined by its low-fidelity sound, which can take on extreme forms (imagine a cassette tape that is nearing the end of its lifecycle) to ensure a total rencouncement of mainstream attendance. Slowcore is a very important subgenre (and still popular) that is deliberately the opposite of Grunge: gentle and slow, placid, and filled with tender, fragile sounds.
", "songlist": [ "The Smashing Pumpkins - Bullet With Butterfly Wings (lyrics)", "Garbage - I Think I'm Paranoid", "PJ Harvey - This is love", "Skunk Anansie - Weak", "The Cranberries - Zombie (Official Video) 720p HD", "L7 - Shitlist (HQ Audio)", "Bikini kill - Rebel Girl", "Bratmobile - Do You Like Me Like That？", "Low - Lullaby", "Codeine - Washed Up", "Tall Dwarfs： Nothing's Going to Happen", "Daniel Johnston - Chord Organ Blues" ], "playlistID": "PLb15rbk6I4pNv5Y2ibci98zWq9ykiHM8v", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNv5Y2ibci98zWq9ykiHM8v", "spotify-playlist-link": "https://open.spotify.com/playlist/66RJjPvdDFvBgocKYqLCEm?si=JlSJrS0gRmawa9X7ShzhQA", "name_zh": "另类摇滚 / 独立摇滚 II" }, "alt08": { "name": "POST-GRUNGE
后垃圾摇滚", "year": "1995", "supergenre-first-tag": "ALTERNATIVE", "description": "
在九十年代中期，Grunge几乎只是其昔日自我的一个影子。然而，它的消亡并非徒劳。许多新摇滚乐队填补了Grunge留下的空洞，并特别受到其悲剧性、内省、感伤歌词的影响。后垃圾摇滚（Post-Grunge）进一步阐述了这一主题，但也远离了Grunge的重度失真、混乱和粗糙。结果是一种更光滑、更精致的声音，具有清晰的歌曲结构，被证明是商业上的成功。\n\nPost-Grunge变得如此流行，以至于它在主流中的停留时间比其他另类摇滚长得多（不过作为最新流派，这并不令人惊讶），违背了各种反对者的意愿。这些对手声称Post-Grunge仅仅是某种天才事物的商业模仿，应该与原始物明确分开（导致了其名称）。另一方面，粉丝将其视为摇滚乐的巅峰，在这里最终找到了粗糙与光滑之间的完美平衡。代表乐队包括Creed、Nickelback、Foo Fighters（部分）、Matchbox Twenty以及3 Doors Down。
In the mid-nineties Grunge was barely a shadow of its former self. Its demise had not been in vain however. Many new Rock bands filled the hole that Grunge left and were especially influenced by its tragic, introspective, sentimental lyrics. Post-Grunge elaborated further on this theme but also took a step away from Grunge’s heavy distortion, chaos and roughness. The result was a slicker, more polished sound with a clear song structure that turned out to be a commercial success. Post-Grunge became so popular that it stayed in the mainstream much longer than other “Alternative” Rock (though no surprise as its newest genre), against the will of various opponents. These antagonists claimed that Post-Grunge was merely a commercial imitation of something genious and that it should be clearly separated from the original (leading to its name). On the other hand, the fans saw it as the culmination of Rock where finally a perfect balance of roughness versus slickness was found.
", "songlist": [ "Foo Fighters - The Pretender", "Creed - With Arms Wide Open (Official HD Music Video)", "3 Doors Down - Kryptonite (Official Video)", "Green Day - Boulevard Of Broken Dreams [Official Music Video] [4K Upgrade]", "Nickelback - How You Remind Me", "The Sheila Divine - Sideways", "HIM - Join Me In Death", "Staind - It's Been Awhile (Official Video)", "Bush - Machinehead" ], "playlistID": "PLb15rbk6I4pPxwY9UhJQwcGSjweM2ecRP", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPxwY9UhJQwcGSjweM2ecRP", "spotify-playlist-link": "https://open.spotify.com/playlist/2yoM4oDl6hOBYDj19OLG44?si=Zmzw54RLRr6jvgWTfIhOYA", "name_zh": "后垃圾摇滚" }, "alt09": { "name": "POST-ROCK
后摇滚", "year": "1995", "supergenre-first-tag": "ALTERNATIVE", "description": "
另类摇滚的最后一章是对新声音的探索，是摇滚音乐总体上的新方向。超越已经做过的一切，无论是独立还是主流。这种后摇滚（Post-Rock）的结果确实是截然不同的；人们可以轻易辨识出那种太空感、氛围式的声音。后摇滚同时反叛了另类摇滚乐队自我放纵的态度——更关心酷而非声音——以及贪婪的商业乐队——什么最畅销就创作什么。\n\n歌曲几乎是催眠的，带听众进行一场音乐之旅。当然，合成器是后摇滚的关键乐器，特别是用于创造嗡鸣声，而鼓和（仅）温柔的贝斯吉他形成稳定的背景结构。后摇滚缺乏经典歌曲结构（主歌-副歌），以创造令人惊喜的音乐，并喜欢在传统摇滚乐器上实施不寻常的技术。有吉他、鼓和贝斯，但人们几乎无法以熟悉的摇滚方式辨识它们。后摇滚或许可以被称为氛围流行（Ambient Pop）——非常柔和，几乎没有riff或明显的吉他——但这对其流派实验性质来说是不充分的公正评价。代表乐队包括Sigur Rós、Mogwai、Explosions in the Sky、Godspeed You! Black Emperor以及Tortoise。
The final chapter in Alternative Rock is the quest for a new sound, a new direction for Rock music in general. Something beyond what was already done, whether it was indie or mainstream. The result of this “Post-Rock” was indeed drastically different; one can easily recognize the spaced out, ambient sound. Post-Rock revolted against both the self-indulgent attitude of alternative rock bands, more concerned with coolness than sound and the greedy commercial bands, composing whatever sells best.

The songs are almost hypnotic, taking the listener on a musical voyage. Of course the synthesizer is a key instrument of Post-Rock, especially to create droning sounds, while drums and (only) the gentle bass guitar form a steady background structure. Post-Rock lacks a classic song structure (verse-chorus) to create surprising music and likes to implement unusual techniques on traditional Rock instruments. There are guitars, drums, and bass but one would hardly recognize them in a familiar Rock way. Post-Rock might have been called Ambient Pop, being very soft with hardly any riffs or noticeable guitars, but that would do the experimental nature of the genre inadequate justice.
", "songlist": [ "AIR - All I Need (feat. Beth Hirsch) (from Moon Safari - Official Audio)", "Explosions in the sky - First breath after coma", "Cul De Sac - I Remember Nothing More", "Tortoise ＂I Set my face to the hillside＂", "Godspeed You Black Emperor - East Hastings", "Labradford - Accelerating On A Smoother Road", "Do Make Say Think - Le'espalace", "65daysofstatic 'Radio Protector'" ], "playlistID": "PLb15rbk6I4pMhS8kHZZST_7Q9Z0cpdxBb", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMhS8kHZZST_7Q9Z0cpdxBb", "spotify-playlist-link": "https://open.spotify.com/playlist/2Rf5geznpPXqQWThFHYmWQ?si=mhQ2IokqRDSLSXgyBm5pvg", "name_zh": "后摇滚" }, "con01": { "name": "POST-BRITPOP
后英式摇滚", "year": "1999", "supergenre-first-tag": "CONTEMPORARY", "supergenre-second-tag": [ "master", "POP" ], "description": "
尽管相关乐队不喜欢后英式流行（Post-Britpop）的标签，且声称在Britpop内部进行流派细分毫无意义，但这种风格比人们预想的要明确得多。Britpop的爱国主义阻碍了实验性和美国或独立音乐的影响。然而，九十年代末第二波英国艺术家对这些优点的重视高于文化保护。与其前辈的一个明确区别是拒绝吉他作为主导乐器，转而支持更电子导向的声音。另一个关键变化是Britpop自命不凡态度的消失，被高度敏感、脆弱的歌词所取代。Post-Britpop以自我的丧失为象征。\n\nRadiohead和The Verve等先锋乐队在后期作品中率先引领了这一转变，但只是即将发生之事的模糊信号。Post-Britpop乐队的流行度迅速超越了传统Britpop，使Post-Britpop成为零零年代的一种体育场摇滚。一些乐队回归了Britpop的原始声音，但带有当代摇滚影响，如The Kaiser Chiefs或Bloc Party。成功带来嫉妒，Post-Britpop歌曲最终被指控公式化和可预测——正是Britpop曾对Grunge提出的同样批评。代表乐队包括Coldplay、Travis、Snow Patrol、Keane以及Muse（早期）。
Despite the aversion of relevant bands to the label “Post-Britpop” and claims that genre fragmentation within Britpop is pointless, this style is a lot more defined than what you would expect. Britpop’s patriotism got in the way of experimentation and American or Indie influences. Yet a second wave of British artists in the late nineties valued these merits higher than cultural preservation. A clear distinction with their predecessors is the rejection of guitar as the dominant instrument, in favor of a more electronically oriented sound. Another key alteration is the absence of Britpop’s cocky attitude, which got replaced by highly sensitive, fragile lyrics. Post-Britpop is symbolized by a loss of ego. Avant-garde bands like Radiohead and The Verve spearheaded this transition in their later works, but were only a vague sign of things to come. The popularity of Post-Britpop bands quickly outgrew traditional Britpop, making Post-Britpop a sort of Stadium Rock of the nillies. A number of bands returned to the original sound of Britpop, but with contemporary Rock influences such as The Kaiser Chiefs or Bloc Party. With success comes envy and Post-Britpop songs eventually became accused of sounding too uniform, sterile and predictable. Coupled with whiter-than-white sound production and high-pitched male vocals, the way was paved for a countering return to sleazy, lo-fi Garage Rock.
", "songlist": [ "Coldplay - Clocks (Official Video)", "Muse - Bliss", "Travis - Sing (Official HD Music Video)", "Feeder - Feeling A Moment - Official Video", "Doves - Kingdom Of Rust", "Snow Patrol - Chasing Cars (Official Video)", "Keane - Everybody's Changing (Alternate Version)", "Kaiser Chiefs - I Predict A Riot (Official Video)", "Bloc Party - Banquet (Official Music Video)" ], "playlistID": "PLb15rbk6I4pNcnI4IzGLUxUeho_D5xupa", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNcnI4IzGLUxUeho_D5xupa", "spotify-playlist-link": "https://open.spotify.com/playlist/5L6CWtVGe5tlwpcBlsQJLj?si=bMNocWtATiaQE9BVp9kvZg", "name_zh": "后英式摇滚" }, "con02": { "name": "EMO ROCK
情绪摇滚", "year": "1999", "supergenre-first-tag": "CONTEMPORARY", "supergenre-second-tag": [ "slave", "(hardcore)" ], "description": "
大约在1996年，情感核（Emocore）与（另类）摇滚之间最早的交叉开始占据一席之地。通过进一步从硬核漂向摇滚，可以触及更广泛的观众。然而，Emo Rock与其前身Emocore几乎没有相似之处：这个流派更多是一种感伤和情感化的独立摇滚形式，而非Emo的另类版本。第一波Emo乐队在重度失真riff的外衣下呈现了敞开心扉的歌词和引人入胜的力量和弦。\n\n到1999年，该流派迈出了一大步，因为大型唱片公司意识到了潜力，同时机会主义乐队也应运而生，利用Emo的刻板形象向青少年销售他们的音乐。Emo成为一种营销工具，配以紧身牛仔裤、浓妆、黑白服装和紫色染料的时尚。凭借比第一波Emo Rock乐队更加政治正确的歌词，Emo的主流吸引力变得如此之大，以至于2001年后，一场短暂但激烈的emo热潮席卷而来。此时，Emo一词已为公众所熟悉，成为一种成熟的青少年亚文化。不出所料，该流派遭到了更成熟或老派群体的严重鄙视，因为缺乏真诚和过度商业化。代表乐队包括My Chemical Romance、Fall Out Boy、Panic! at the Disco以及Jimmy Eat World。
Around 1996, the earliest crossovers between Emocore and (Alternative) Rock start to take hold. By drifting further away from Hardcore towards Rock, a broader audience could be reached. However, Emo Rock bears little resemblance to its predecessor Emocore: the genre is more a sentimental and emotional form of Indie Rock than an alternative version of Emo. The first wave of Emo bands delivered open-hearted lyrics and compelling power chords in a jacket of heavy distortion riffs.

By 1999 the genre takes a big leap forward, as major record labels realize the potential while opportunistic bands arise, which use the stereotypical image of “Emo” to sell their music to teens. Emo becomes a marketing tool, complete with the fashion of tight jeans, heavy make-up, black & white clothes and purple dye. With far more politically correct lyrics than the first wave of Emo Rock bands, the mainstream appeal of Emo becomes so large that after 2001 a brief but intense emo hype takes hold. By now the term “Emo” has become familiar to the general public and a well established teenage subculture. Unsurprisingly, the genre was heavily frowned upon by a more mature or old skool crowd, due to the lack of early Emo “edginess” and the presence of a rather superficial sentimentality.
", "songlist": [ "Placebo - Pure Morning (Official Audio)", "My Chemical Romance - Welcome To The Black Parade [Official Music Video] [HD]", "Sunny Day Real Estate - Seven [OFFICIAL VIDEO]", "Jimmy Eat World - Pain (Radio Version, Closed Captioned)", "[FAN LYRIC VIDEO] The Phoenix by Fall Out Boy", "Paramore： Emergency [OFFICIAL VIDEO]", "Tokio Hotel - Monsoon", "The All-American Rejects - It Ends Tonight (Official Music Video)", "Evanescence - Bring Me To Life (Official HD Music Video) ft. Paul McCoy" ], "playlistID": "PLb15rbk6I4pN6tUHM1qq5nCG9SHbJD_OB", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pN6tUHM1qq5nCG9SHbJD_OB", "spotify-playlist-link": "https://open.spotify.com/playlist/07cY49lRMwU8CkMQ84Fzmi?si=WESDtfYZQ82SFmnzGGFhng", "name_zh": "情绪摇滚" }, "con03": { "name": "GARAGE ROCK & POST-PUNK REVIVALS / NU RAWK
车库/后朋克复兴 / 新原始摇滚", "year": "2003", "supergenre-first-tag": "CONTEMPORARY", "description": "
新千年的开始为摇滚音乐预示了一个不祥的未来。另类摇滚早已过了巅峰，剩下的只有后摇滚（Post-Rock）和后英式流行（Post-Britpop）。虽然这些流派确实有其价值，但它们标志着对摇滚音乐传统定义的明显偏离：过于精致、过度制作和过于折衷。音乐流派的饱和在新千年变得可见，被称为折衷主义和回收的时代。无论是对摇滚未来的恐惧，还是对后流派的厌恶，折衷主义对某些乐队来说不是一个选项。因此，他们选择了回收——以一种不寻常的方式。\n\n车库摇滚（Garage Rock）和后朋克（Post-Punk）都被高度推崇为纯粹和粗糙的摇滚流派，导致了车库和后朋克复兴。虽然这些流派明显不同，但来自自赏（Shoegazing）和另类摇滚的影响以及进一步的交叉影响使它们的复兴几乎不可能分开。因此，它们被联合在Nu-Rawk的名称下。用新标准复兴上述旧流派的选择比预期效果更好，现在Nu-Rawk可以被视为在新千年中重振摇滚的流派。其辉煌时刻虽短暂，但对独立场景的影响深远。代表乐队包括The Strokes、The White Stripes、The Libertines、Yeah Yeah Yeahs以及Interpol（受后朋克影响）。
The start of the new millennium purveyed an ominous future for Rock music. Alternative Rock was far past its peak and all that remained was Post-Rock and Post-Britpop. Although these genres certainly have their merit, they marked a clear step away from the traditional definition of Rock music: too polished, overproduced and too eclectic. Saturation of music genres became visible in the new millennium, dubbed “the age of eclecticism and recycling”. Whether it was fear for Rock’s future or an aversion for Post-genres, eclecticism was not an option for certain bands. Thus they chose recycling and in an unusual way. Both Garage Rock and Post-Punk were held in high esteem as “pure and rough Rock genres”, leading to Garage and Post-Punk revivals. Although these genres are clearly different, influences from both Shoegazing and Alternative Rock and further cross-influence made their revivals almost impossible to separate. Hence they are conjoined under the name “Nu-Rawk”. The choice of reviving said old genres by new standards worked better than expected and now Nu-Rawk can be seen as the genre that revitalized Rock in the new millennium. Its moment of fame was shortlived however, except a small number of bands with continuous popularity who rose to great fame. As always in music history, shortly after the pendulum swung the other way and Nu-Rawk changed into the eclectic Dance Punk.
", "songlist": [ "The White Stripes - Seven Nation Army (Official Music Video)", "The Strokes - Juicebox (Official HD Video)", "The Black Keys - Lonely Boy [Official Music Video]", "The Hives - Tick Tick Boom", "The Vines - Ride", "The Libertines - Can't Stand Me Now (Official Video)", "Arctic Monkeys - Don't Sit Down 'Cause I've Moved Your Chair (Official Video)", "the dirtbombs- chains of love", "Interpol - C'mere", "Editors - Sugar (Official Video)", "Black Rebel Motorcycle Club - Love Burns" ], "playlistID": "PLb15rbk6I4pMwf94vjSa2D5RftCsm0MyZ", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMwf94vjSa2D5RftCsm0MyZ", "spotify-playlist-link": "https://open.spotify.com/playlist/3hnlh7ilzq6NPjVyIEpelq?si=sUUVxWdoTyyXXVi5Dy1JHw", "name_zh": "车库/后朋克复兴 / 新原始摇滚" }, "con04": { "name": "NEW PROG / NU PROG / POST-PROG (ROCK)
新前卫 / 后前卫摇滚", "year": "2005", "supergenre-first-tag": "CONTEMPORARY", "description": "
前卫摇滚（Progressive Rock）是一个庞大而持久的音乐家族，常被分为几个子流派。其中之一例如是新前卫摇滚（Neo-Prog）。在八十年代，第二波艺术家进一步实验了现代技术，通常走向更交响化或古典的方向。然而，随着时间推移，前卫摇滚失去了对其他流派的优势，因为折衷主义、电子影响和实验性总体而言越来越多地成为任何摇滚乐队用来带来新鲜和刺激事物的基本工具。只有少数精选乐队能够获得前卫的标签。\n\nNeo-Prog诞生几十年后，新前卫（New Prog，也称为Post-Prog或Nu Prog）到来了。某种程度上，新前卫就像前卫金属（Prog Metal）：一种分类近期难以归类的摇滚乐队的手段，这些乐队共享对原始前卫摇滚的热爱，同时保持地下状态。从零零年代中期开始，出现了一股折衷乐队的崛起，他们拥有实验和罕见高对比度的天然才能。这一后前卫浪潮与原始前卫摇滚的不同之处在于对更新、更重流派（尤其是尖锐的单音符金属吉他riff）的亲和力，以及几乎在所有歌曲中戏剧性、交响性的积累。代表乐队包括The Mars Volta、Coheed and Cambria、Porcupine Tree以及Tool（部分归入前卫金属）。
Progressive Rock is a large and durable family of music often divided into several subgenres. One of these for example, is Neo-Prog(ressive Rock). During the eighties, a second wave of artists further experimented with modern technology and often into more symphonic or classical directions. Though over the course of time, Progressive Rock lost that edge over other genres as eclecticism, electronic influences and experimentation in general became more and more basic tools of any Rock band in order to bring something new and exciting to the table. Only a select number of bands could attain the label “Progressive”.

Several decades after Neo-Prog’s creation, New Prog arrives (also labeled Post-Prog or Nu Prog). In a way, New Prog(ressive) is like Prog Metal: a means to classify recent Rock bands that are hard to categorize, but who share a love for original Progressive Rock while staying underground. From the mid nillies onwards, there has been a rise in eclectic bands with a natural talent towards experimentation and high contrast unfrequently used in other genres. This Post-Prog wave differs from the original Prog Rock by an affinity for newer, heavier genres (especially the sharp ones, such as Punk, Hardcore, and Speed Metal). This makes Nu Prog no more eclectic than other Contemporary Rock genres such as Dance-Punk or Chillwave, but it places it at the other side of the spectrum: away from Pop and House. What we have here then is a sort of Post Rock-meets-Metalcore genre; a crisp and clean combination of soft and hard song parts that naturally can cross over to Math Rock.
", "songlist": [ "Porcupine Tree - Anesthetize", "The Mars Volta - Goliath", "Menomena - ＂Plumage＂ (Official Video)", "Kayo Dot - Magnetism", "Ozric Tentacles - Spirals In Hyperspace", "Mystery Jets - Telomere", "Ahleuchatistas - Vanished", "Good Tiger – Where Are The Birds (Official Music Video)", "Coheed and Cambria - In Keeping Secrets of Silent Earth： 3 (audio)" ], "playlistID": "PLb15rbk6I4pPtURk8dGjxJ2rHhTEz3k_U", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPtURk8dGjxJ2rHhTEz3k_U", "spotify-playlist-link": "https://open.spotify.com/playlist/72KIpIWnUzIPKhbswlyptk?si=Ohi8S_ZFRJ-ZLTQ_bfLR_w", "name_zh": "新前卫 / 后前卫摇滚" }, "con05": { "name": "INDIETRONICA & CHILLWAVE
独立电子 & 寒潮", "year": "2005", "supergenre-first-tag": "CONTEMPORARY", "supergenre-second-tag": [ "master", "POP" ], "description": "
在Madchester爆发（和衰落）很久之后，自赏（Shoegaze）作为一个引人注目的熔炉的完美成分被重新发现：合成器流行（Synthpop）、电子乐（Electronica）和自赏在一种新型的氛围新浪潮独立摇滚（Ambient New Wave Indie Rock）中配合得很好，根据视角或某首特定歌曲的核心结构是摇滚、流行/新浪潮还是缓拍（Downtempo），它分别可以被称为Nu-Gaze、独立电子（Indietronica）或寒潮（Chillwave）。因此，属于这一流派的两首不同歌曲听起来可以相当不同。\n\n不出所料，这是一个相当广泛和灵活的流派，可以轻松触及广泛的相关流派谱系。Chillwave有一种非常夏日的情绪，充满乐观和梦幻的流行人声。八十年代复古（被继承者合成波Synthwave以黑暗方式进一步增强）和大量不同歌曲部分的混响使其成为怀旧和迷幻的终极结合。Chillwave也与蒸汽波（Vaporwave）密切相关，尽管后者更注重视觉美学和互联网文化。代表艺人包括Washed Out、Toro y Moi、Neon Indian以及Memory Tapes。
Long after the Madchester explosion (and the fall), Shoegaze was rediscovered as a perfect ingredient for a remarkable melting pot: Synthpop, Electronica, and Shoegazing went pretty well together in a new type of “Ambient New Wave Indie Rock” that could either be called Nu-Gaze, Indietronica or Chillwave depending on matter of perspective or whether the core structure of a certain song is either Rock (New (Shoe)Gaze), Pop/Wave (Chillwave) or Downtempo (Indie (elec)tronica). Therefore two different songs belonging to this genre can very well sound rather different. Unsurprisingly, this is a fairly broad and flexible genre, which can easily tap into a wide spectrum of related genres. Where Nu-Gaze is rather an obscure and rare genre and Indietronica too loosely defined, Chillwave is the genre that comes closest to a certain definition. A definition that easily swallows the other genres as well (illustrated by Chillwave’s alias: Downtempo Pop). After all, this is the age of eclecticism. Chillwave has a very summery mood, full of optimism and dreamy Pop vocals. Eighties retro (further enhanced in a dark way by the successor Synthwave) and lots of reverb on different song parts make it seem like Dream Pop is back from the dead. Another synonym, “Glo-Fi”, also points out parallels between Chillwave and the Dream Pop/Shoegaze era.

A term frequently associated with these latest Rock genres (but obviously applicable to others as well), is “Laptronica”: electronic music performed entirely by simply a laptop. But Laptronica qualifies rather as a derogatory slur from Rock bands and journalists who favor a classic instrumentation (even though Indietronica and exponents often do have one).
", "songlist": [ "Röyksopp - What Else Is There ？", "Years & Years - King (Official Video)", "Stereolab - Les Yper-Sound", "Cherub - Doses & Mimosas (Official Video)", "Black Swan", "The Postal Service - Such Great Heights [OFFICIAL VIDEO]", "Herrmann & Kleine- Transalpin", "The Notwist - Chemicals", "Post War Years - All Eyes (Official Video)" ], "playlistID": "PLb15rbk6I4pNlpcQLfhKTbkF4Bw48rlHW", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNlpcQLfhKTbkF4Bw48rlHW", "spotify-playlist-link": "https://open.spotify.com/playlist/1BucsBO3c86opOE4pDl3H3?si=3mWJp6FfS7-N4uBepzuqpQ", "name_zh": "独立电子 & 寒潮" }, "con06": { "name": "DANCE-PUNK & NU RAVE
舞蹈朋克 & 新锐舞", "year": "2006", "supergenre-first-tag": "CONTEMPORARY", "supergenre-second-tag": [ "slave", "(house)" ], "description": "
舞曲朋克（Dance-Punk）一词的第一个概念出现在七十年代末，作为后朋克（Post-Punk）跨界到迪斯科（Disco）的产物。尽管朋克一直是一种与跳舞相关的超动感流派，但迪斯科朋克借助电子节拍来强化这种联系。在后朋克之后，一些新浪潮和自赏乐队也在实验电子脉冲节奏的想法，比合成器流行（Synthpop）更像EDM（例如New Order先锋性的Blue Monday）。\n\n特别是在英国曼彻斯特，交叉授粉达到了空前的高度：酸性浩室（Acid House）被英国人张开双臂欢迎，导致了一个不寻常的子流派Madchester——另类摇滚与酸性浩室之间的桥梁。另类舞曲（Alternative Dance/Indie Dance/Punkfunk）是任何另类或朋克/新浪潮流派与舞曲音乐的结合，包括许多Madchester歌曲和早期舞曲朋克。因此，这一流派定义不佳，更像是一系列不相关歌曲的集合。然而，Nu-Rawk乐队对前独立摇滚音乐的重新兴趣也改变了另类舞曲被埋葬的土壤，导致了现在被理解为Dance-Punk的东西：现代朋克/新浪潮遇上浩室/高科技舞曲/迪斯科。代表乐队包括LCD Soundsystem、The Rapture、!!! (Chk Chk Chk)以及Franz Ferdinand（部分）。
The first notion of the word Dance-Punk appeared around the late seventies as a crossover of Post-Punk into Disco. Though Punk has always been a hyperkinetic genre tied to dancing, “Disco-Punk” reaches out to electronic beats to strengthen this bond.

After Post-Punk, a number of New Wave and Shoegazing bands also experimented with the idea of electronic pulsating rhythms, more similar to EDM than Synthpop (New Order’s avant-garde “Blue Monday” for example). Especially in Manchester, UK, cross-pollination was at an all-time high: Acid House was welcomed by the British with open arms, leading to an unusual subgenre called Madchester, the bridging between Alternative Rock and Acid House.

Alternative Dance or Indie Dance (or “Punkfunk”) is the combination of any Alternative or Punk/Wave genre with Dance music, including many Madchester songs and early Dance-Punk. As such, the genre is poorly defined and more a collection of unrelated songs dispersed as dying stars in the musical universe. However, the renewed interest in pre-Indie Rock music by Nu-Rawk bands also shifted the ground where Indie Dance was buried, resulting in what is now understood as “Dance-Punk”: modern Punk/Wave meets House. The music is so infectious that even the middle aged middle class white man starts to dance.

And finally, there is the short-lived New (Nu) Rave movement, which blends Dance-Punk with Indie Rock. Fast, danceable Rock music created by artists with only their laptop: DIY entrepreneurship like free Tekno and Rave and a grasp of their old skool euphoria in a Rock ensemble. Nu Rave is Madchester in the age of social media and hipsterism.
", "songlist": [ "LCD Soundsystem - Get Innocuous (HD)", "SOULWAX - NY Excuse", "Yeah Yeah Yeahs - Heads Will Roll (Official Music Video)", "!!! (Chk Chk Chk) - Heart Of Hearts (Official Music Video)", "The Rapture - Echoes", "The Infadels - Can't Get Enough", "Klaxons - Golden Skans", "New Young Pony Club - Ice Cream", "TRASHFASHION IT'S A RAVE DAVE" ], "playlistID": "PLb15rbk6I4pPH1HGyVpYpLpegEYMj2nls", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPH1HGyVpYpLpegEYMj2nls", "spotify-playlist-link": "https://open.spotify.com/playlist/4W8VNm8nEMImSVvFIHRGrk?si=BTOR_i_9SIqOaX35-Ujz2w", "name_zh": "舞蹈朋克 & 新锐舞" }, "con07": { "name": "INDIE FOLK & FREAKFOLK / NEW WEIRD AMERICA
独立民谣 & 怪诞民谣 / 新怪美", "year": "2008", "supergenre-first-tag": "CONTEMPORARY", "supergenre-second-tag": [ "master", "POP" ], "description": "
尽管这一流派显然是民谣音乐的一种形式，但在摇滚/流行圈内的广泛和热切熟悉度，加上来自流行音乐的强烈影响，证明了它在地图上的存在。事实上，怪诞民谣（Freakfolk）如此折衷，以至于它不能只属于一个超级流派，有时被称为自由民谣（Free Folk）。作为独立民谣（Indie Folk）的一个子流派——即任何另类/当代摇滚与民谣的结合——它大约从2003年开始缓慢起步。迷幻民谣摇滚乐队如The Incredible String Band、Holy Modal Rounders和Comus激发了各种艺术家进入一种新的、催眠的、药物感的民谣。\n\n基于调式的结构（如调式爵士）和用最不寻常的乐器进行怪诞声音的多层叠加，是其实验性质的主要贡献者。很难给怪诞民谣的声音找一个共同点，这正是它被这样称呼或以其同义词新怪诞美国（New Weird America）命名的原因。独立民谣的历史可以追溯到九十年代，当时另类摇滚乐队再次复兴了民谣。但直到某些混杂的电子流行单曲以及后来的Moombahton及其衍生品的到来，独立民谣和怪诞民谣才真正积蓄势头。代表艺人包括Bon Iver、Fleet Foxes、Devendra Banhart、Joanna Newsom以及Sufjan Stevens。
Although this genre is obviously a form of Folk music, a large and welcoming familiarity within Rock/Pop circles combined with a heavy influence from popular music justifies its presence on the map. In fact, Freakfolk is so eclectic that it cannot belong to only one super-genre and is sometimes called Free Folk. As a subgenre of Indie Folk (which is any combination of Alternative/Contemporary Rock and Folk) it started off rather slowly around 2003. Psychedelic Folk Rock Bands such as The Incredible String Band, Holy Modal Rounders and Comus inspired diverse artists into a new, hypnotic and druggy kind of Folk. Modal based structure (like Modal Jazz) and multi-layering of freaky sounds with the most unusual instruments are the primary contributors to its experimental nature. It’s hard to put a common denominator on Freakfolk’s sound, which is exactly why it’s called that way or by its synonym: New Weird America.

Indie Folk's history can be traced back to the nineties, when Alternative Rock bands revive Folk once more. But it wasn’t until the arrival of certain promiscuous Electropop singles and later Moombahton and derivatives that both Indie Folk and Freakfolk really build up momentum. This youth-oriented, twerk-friendly, hyperactive and formulaic music pushed Freakfolk and Indie Folk even more in the opposite direction, and created an incentive for more mature, honorable and unpredictable music. The latest forms of Indie Folk (which have become highly popular, like e.g. Mumford & Sons) are also known as Nu-Folk.
", "songlist": [ "Fleet Foxes - Mykonos [OFFICIAL VIDEO]", "Ed Sheeran - Photograph (Official Music Video)", "First Aid Kit - My Silver Lining", "CocoRosie - Lemonade (OFFICIAL VIDEO)", "Grizzly Bear - Two Weeks (music video in HD) Veckatimest out now", "Devendra Banhart - Baby (Video)", "Joanna Newsom ＂Sapokanikan＂ (Official Video)", "Charalambides - Into the Earth" ], "playlistID": "PLb15rbk6I4pNzgoLfFTz2Ru5aTgxT0KKP", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNzgoLfFTz2Ru5aTgxT0KKP", "spotify-playlist-link": "https://open.spotify.com/playlist/23vPVlThXSEIchg0bJ1HMK?si=f-3drYbfRTGqKZDrvkFTPQ", "name_zh": "独立民谣 & 怪诞民谣 / 新怪美" }, "pop01": { "name": "BRILL BUILDING POP & CROONERS
布里尔大厦流行 & 低吟歌手", "year": "1957", "supergenre-first-tag": "POP", "description": "
流行音乐是摇滚或R&B音乐的商业化、轻量化的变体，常常跨界到任何销量最好的流派。然而，在摇滚乐之前，制作人已经在创作流行音乐了。20世纪早期流行音乐的主要来源是Tin Pan Alley——纽约百老汇附近（并为其服务，因此面向音乐剧）的一个音乐街区。附近就是著名的布里尔大厦（Brill Building）。当五十年代EP唱片越来越普及、最早的排行榜出现时（1952年），这座大楼变成了一个繁忙的巨型蜂巢，布满了无数录音室。起初，布里尔大厦的重心在于为家庭创作音乐，但这一切在五十年代末发生了改变。作为对摇滚乐流行的回应，专业的流行音乐制作人精心打造了面向青少年的热门歌曲。五十年代迷人的男声低吟歌手（crooners）和六十年代雇佣的女子组合，旨在表达一种不可抗拒的性感形象，将他们的作品转化为巨额利润。最早的crooners出现在二十年代，因其在麦克风前轻柔低吟的演唱技巧而得名，与蓝调中必须用尽全力的hollers或shouters形成鲜明对比。\n\n布里尔大厦流行音乐以其专业的歌曲创作团队为特征——词曲作者和制作人组合，如Goffin-King、Bacharach-David以及Phil Spector，以流水线式的高效为签约艺人创作热门单曲。著名的声墙（Wall of Sound）制作技术正是在这里诞生。女子组合时代——The Ronettes、The Supremes、The Shirelles——体现了这种精心打磨、商业化的流行音乐制作方式。
Pop music is a commercial and light variant of either Rock or R&B music, often crossing over to whatever genre sells the most. However, before Rock music, producers were already creating Pop music. The dominant source of Pop in the early 20th century was Tin Pan Alley: a musical neighborhood in New York near and for Broadway (thus aimed at musicals). Nearby was the famous Brill Building. When EP’s became more and more commonplace in the fifties and the first hit parade appeared (in 1952), this building turned into a giant busy hive, filled with countless recording studios. At first, Brill Building’s focus lay at creating music for the family, but that all changed in the late fifties. As a response to Rock ‘n’ Roll’s popularity, professional Pop producers crafted teen oriented hit songs. Charming male crooners in the fifties and hired girl groups in the sixties were meant to express an irresistible image of sexiness, turning their work into large profits. The first crooners appeared in the twenties and were named after their singing technique of gently moaning in the microphone. A large difference with (poorer) hollers or shouters in Blues who had to use all the volume their voices could produce, as they had no voice amplification. Brill Building Pop evolved from a more minimal singer/songwriter type of music (early Tin Pan Alley pop music) into a light version of Rock ‘n’ Roll written in 6/8 signature with Latin or exotic sounds, strings, children’s melodies and Rhythm ‘n’ Blues influences. The most famous producer of this era is undoubtedly Phil Spector, who helped reach many Girl Groups and Golden Age Rock bands achieve stardom with his “Wall of Sound” recording technique.
", "songlist": [ "Neil Sedaka Calendar Girl", "Righteous Brothers You've Lost That Lovin' Feelin' (45 RPM)", "Put Your Head On My Shoulder", "Frank Sinatra - New York, New York.", "Gene Pitney - 24 Hours From Tulsa", "The Shangri-Las -Leader Of The Pack Video with High Quality Sound", "Pat Boone - Speedy Gonzalez", "Del Shannon - Runaway" ], "playlistID": "PLb15rbk6I4pPefqYFNt_KLGyl8NePP4pg", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPefqYFNt_KLGyl8NePP4pg", "spotify-playlist-link": "https://open.spotify.com/playlist/20hR0kUZoql2WMlcbHxKTv?si=rmuDAi_AThaocDz06fg5ug", "name_zh": "布里尔大厦流行 & 低吟歌手" }, "pop02": { "name": "BUBBLEGUM & TEENYBOP
泡泡糖流行 & 青少年流行", "year": "1966", "supergenre-first-tag": "POP", "description": "
六十年代是一个繁荣与幸福的辉煌十年，也是面向全家人的新发明和新玩意儿层出不穷的时代，开启了消费主义时代。大量婴儿潮一代的青少年儿童成为一个新音乐流派的完美目标，这一流派被恰当地称为泡泡糖流行乐（Bubblegum Pop）。音乐制作人（像特许经营CEO一样运作）将摇滚乐拿来，剥离成简单、旋律化的流行音乐——预先制造、商业化、买卖一体。泡泡糖流行乐通常以有趣、色彩鲜艳的乐器为特色，如哈蒙德风琴（Hammond Organ）。\n\nTeenybop是专门为非常年轻或敏感的青少年制作的流行音乐，涉及夸张煽情和多愁善感的事件（如第一次高中暗恋等）。很明显，Teenybop与泡泡糖流行乐有大量相似之处：音乐作为闪亮的商品或儿童的疗伤分诊。泡泡糖流行乐成为任何录音室制作的三分钟以内朗朗上口曲调的统称，并最终被用作肤浅和轻浮的贬义同义词，尽管也有不少独立的Garage Rock和Rockabilly Pop乐队创作类似的音乐。泡泡糖流行乐的制作方式高度工业化：匿名的录音室音乐人被雇佣来演奏，歌曲围绕简单的hook构建。The Archies——一支虚构的卡通乐队——以Sugar, Sugar成为泡泡糖流行乐最著名的代表。
The sixties was a glorious decade of prosperity and happiness, but also of new inventions and gadgets for the whole family ushering the age of consumerism. A lot of babyboomer teenage children (or even preteens) were a perfect target for a new music genre, fittingly called Bubblegum (Pop). Music producers (acting like franchise CEO’s) took Rock ‘n’ Roll and stripped it down to simple, melodic Pop music that was premanufactured, commercialized, bought and sold. Bubblegum often featured ‘fun’, colorful instruments such as Hammond Organs.

Teenybop was pop music specifically made for very young or sensitive teens, which dealt about melodramatic and sentimental events (such as the first high school crush etc.). It’s clear that Teenybop shares a great deal of resemblance with Bubblegum: music as shiny merchandise or therapeutical triage for children. Bubblegum became an umbrella term for any studio based catchy tune under three minutes, and eventually used as a negative synonym for shallowness and lightheartedness, despite a number of independent Garage Rock and Rockabilly Pop bands creating similar music.
", "songlist": [ "Sugar Sugar", "I'm a Believer (2006 Remaster)", "7. Jackson 5 - I Want You Back", "Lesley Gore - It's My Party 1964", "Yummy, Yummy, Yummy", "The Rubettes - Sugar Baby Love", "Bye Bye Love", "Little Eva - The Locomotion", "Everly Brothers - Bye Bye Love - Original HQ Audio", "Shocking Blue - Venus (Official Video)" ], "playlistID": "PLb15rbk6I4pNhczQkPkic2i8TBpcM-Oeb", "playlist-link": "https://www.youtube.com/playlist?list=Lb15rbk6I4pNhczQkPkic2i8TBpcM-Oeb", "spotify-playlist-link": "https://open.spotify.com/playlist/14puS8Ic4ChvFbm8Guq7ct?si=MfJbK12BRn6dsNFWtskNjw", "name_zh": "泡泡糖流行 & 青少年流行" }, "pop03": { "name": "SINGER/SONGWRITER
唱作人", "year": "1971", "supergenre-first-tag": "POP", "description": "
从1967年开始，民谣摇滚（Folk Rock）逐渐挣脱其预设的约束，催生了也许是所有音乐流派中最不朽的一种：创作歌手（Singer/Songwriter, S/SW）。这标志着音乐史上的一个关键时刻：流行音乐中的艺术家不再仅仅是预先写好的歌词的表演者，而是同时成为歌词的作者。到1971年（并非偶然，正值个人主义十年的开始），这一流派已完全成型。个人故事和情感取代了社会批评和社区感受。民谣摇滚为摇摆不定的crooners提供了追求独唱事业和获得艺术独立所需的信心。\n\n创作歌手的精髓在于其歌词：以诗意的方式揭示内心想法，通常尽可能坦诚暴露。这些歌词的伴奏也由创作歌手本人演奏，几乎总是仅用一把吉他或一架钢琴。在八十年代早期，创作歌手引领了一系列另类子流派走向独立流行与摇滚（Indie Pop & Rock），如校园流行（College Pop）、低保真流行（Lo-Fi Pop）、新民谣（Neo-Folk）以及后来的慢核（Slowcore）。由于这种极简主义的制作方式——通常只是人声加吉他或钢琴——创作歌手的音乐归根结底就是关于歌的。该流派的标志性人物包括Bob Dylan、Joni Mitchell、James Taylor、Carole King（她的专辑Tapestry是这一风格的里程碑）、Leonard Cohen以及Nick Drake。
Starting in 1967, Folk Rock slowly breaks loose from its predefined constraints and gives birth to perhaps the most immortal of music genres: Singer/Songwriter (S/SW). This marks a pivotal moment in music history: the artist in Pop music is no longer simply the performer of prewritten lines, but the author of them as well. By 1971 (not by chance at the start of the decade of individualism), the genre has fully taken form. Personal stories and emotions take precedence over social criticism and community feeling. Folk Rock provided wavering crooners with the confidence they needed to pursue solo careers and attain artistic independence. The essence of Singer/Songwriter lies in its lyrics: a revelation of inner thoughts in a poetic manner, often as exposing as possible. The accompaniment of these lyrics is also performed by the Singer/Songwriter, almost always with a single guitar or piano. During the early eighties, Singer/Songwriter leads with a series of alternative subgenres to Indie Pop & Rock, such as College Pop, Lo-Fi Pop, Neo-Folk and later Slowcore. Other subgenres are either dependent on the type of song (function) or the region (sentimental ballads, reactionary protest songs, Dutch Kleinkunst, smooth poplike Bleakfolk, Soft Rock as proto S/SW…) In France, the most important subgenre known as Chanson (“Song”) already experienced a rich history during the entire 20th century. Chansons are even more emotional than usual and have a strong historical connection with French film, literature, and theater.
", "songlist": [ "Tim Buckley - Gypsy Woman", "Leonard Cohen - Everybody Knows (Official Audio)", "James Taylor - Carolina In My Mind (BBC In Concert, 11⧸16⧸1970)", "Neil Diamond - I am... I said (W⧸Lyrics)", "Tom Waits - ＂Hold On＂", "Heart of Gold (2009 Remaster)", "A Case of You - Joni Mitchell", "Roy Orbison - Only The Lonely", "Jacques Brel - Ne Me Quitte Pas", "Edith Piaf - Non, Je ne regrette rien", "Serge Gainsbourg ft. Jane Birkin - Je t'aime...Moi non plus (Official Audio)" ], "playlistID": "PLb15rbk6I4pN7CrL_EHycXzpUhHLSch5L", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pN7CrL_EHycXzpUhHLSch5L", "spotify-playlist-link": "https://open.spotify.com/playlist/3NuMcoxLULVkx6XqGtTtlK?si=BSpzLKzMRB-JrKvXMx_Xow", "name_zh": "唱作人" }, "pop04": { "name": "(EARLY) POP ROCK & POWER POP
早期流行摇滚 & 强力流行", "year": "1973", "supergenre-first-tag": "POP", "description": "
力量流行（Power Pop）是最早的真正流行摇滚流派之一，实际上是默西节拍（Mersey Beat）的复兴，可以说是第二次英伦入侵。然而，有一个重要的区别：riff以短促、有力的击弦演奏，辅以快速、重复的鼓点。这一特性赋予力量流行一种非常尖锐和极度活跃的感觉，因此得名。力量流行及伴随其出现的早期流行摇滚类型，必须被视为对七十年代初英国涌现的更黑暗、更严肃的摇滚类型（Pub Rock、Roots Rock、Mod）的补偿。为了引导人们尽可能远离这些坏的摇滚类型，力量流行的声音走向了相反的方向：快乐、旋律化、轻快。\n\n在七十年代末，力量流行经历了第二波浪潮，九十年代又迎来第三波。迪斯科（Disco）及其衍生品的成功压制了流行摇滚的第二波浪潮，在八十年代严重抑制了这一流派。最初的硬摇滚与默西节拍的融合（第一波）在随后的浪潮中被其他流派所沾染，最终导致其消融到其他流派中。标志性乐队包括Big Star——常被称为最伟大的被遗忘乐队——以及The Raspberries、Cheap Trick和后来的Weezer。力量流行的核心配方很简单：披头士式旋律加上谁人乐队（The Who）式的能量。
Power Pop, one of the first true Pop Rock genres, is in fact a revival of Mersey Beat, a second British Invasion so to speak. However, you can hear an important difference: the riffs are played with short, energetic strokes, enhanced by fast, repetitive drum beats. This property gives Power Pop a very ‘spikey’ and hyperactive feel, hence its name. The emergence of Power Pop and the early types of Pop Rock that went along with it, must be seen as compensation for the ‘darker’, more serious types of Rock (Pub Rock, Roots Rock, Mod) popping up in the UK in the early seventies. To steer the people (read: teens) as far away from these ‘bad’ types of Rock as possible, the sound of Power Pop went in the opposite direction: happy, melodic and light. At the end of the seventies, Power Pop experienced a second wave, and in the nineties a third one. The success of Disco and derivatives trumped Pop Rock’s second wave and strongly suppressed the genre in the eighties. The original fusion of Hard Rock and Mersey Beat (first wave) became tainted by other genres during these succeeding waves, leading eventually to dissolution into other genres, though a number of Power Pop artists are still active. Original Power Pop served as a blueprint for many later Pop Rock artists, which were drawn to the bare simplicity of Classic Rock without psychedelic influences or extensive post-production.
", "songlist": [ "The Knack - My Sharona (1979)", "The Romantics - Talking In Your Sleep", "Big Star - September Gurls", "Cheap Trick - I Want You to Want Me (from Budokan!)", "No Matter What (Remastered 2010)", "I Wanna Be With You", "Matthew Sweet - Girlfriend (Official Video)", "The New Pornographers - ＂Challengers＂", "Liquido - Narcotic (Official Video)", "Weezer - Buddy Holly (Official Music Video)" ], "playlistID": "PLb15rbk6I4pOmj31SOEQaZ50QsGn7aypF", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOmj31SOEQaZ50QsGn7aypF", "spotify-playlist-link": "https://open.spotify.com/playlist/0Cg1EifXI2kp62sEHZuFA1?si=1qHpkjj7QAu-Tx5pU93RgA", "name_zh": "早期流行摇滚 & 强力流行" }, "pop05": { "name": "SOFT ROCK / ADULT CONTEMPORARY (A.C.)
软摇滚 / 成人当代", "year": "1977", "supergenre-first-tag": "POP", "description": "
一些A.O.R.（成人导向摇滚）乐队采取了更轻的手法（没有吉他独奏、减少低音），创造了软摇滚（Soft Rock），尽管有时这两种流派难以区分。起初作为另类反运动的产物变得如此商业化，最终它纯粹就是流行音乐。A.O.R.趋势的另一个突破是更多独唱和创作歌手艺术家走上聚光灯，而非面目模糊的乐队。A.O.R.的成果和遗产是一个宏大而轻柔的流派，但其目标受众不是青少年，而是专门面向成年人：成人当代（Adult Contemporary, A.C.，可视为软摇滚的同义词）。\n\nAdult Contemporary这一名称最初并非作为一种流派出现，而是作为公告牌（Billboard）的一个音乐分类，于1979年正式设立。成人当代（A.C.）取代了Easy-Listening类别，因此它是一种相当轻量级的音乐，面向喜欢放松和政治正确的更成熟听众。A.C.这一术语被追溯性地应用于所有类型的软摇滚，甚至包括1979年之前的作品。它与类似流派如乡村流行（Country Pop）、平滑爵士（Smooth Jazz）、新世纪音乐（New Age）和创作歌手存在相当多的重叠。该流派的代表包括The Carpenters、Chicago（转型后）、Air Supply、Christopher Cross、Phil Collins以及Toto。
Some A.O.R. bands took a lighter approach (no guitar solos and less bass) and created Soft Rock (though sometimes the two genres are hard to separate). What started as an alternative countermovement became so commercial that eventually it was pure Pop music. Another break in A.O.R.’s trend is the stepping of more solo and singer/songwriter artists into the spotlight instead of faceless bands. The outcome and legacy of A.O.R. was a large and soft genre, yet not targeted at teens (compared to other Pop), but specifically for adults: Adult Contemporary (which can be seen as a synonym for Soft Rock). The name Adult Contemporary did not start out as a genre but as a billboard category for music, officially installed in 1979. Adult Contemporary (or A.C.) replaced the Easy-Listening category, and as such it is rather lightweight music for more mature people who like their music relaxing and politically correct. The term A.C. got retrospectively applied to all kinds of Soft Rock, even before 1979. Unsurprisingly, there is quite some overlapping with similar genres such as Country Pop, Smooth Jazz, New Age and Singer/Songwriter. In the eighties, a small, sentimental, “sophisticated” subgenre emerged, known as Sophisti-Pop. Sophisti-Pop uses more synth than regular Soft Rock, though subdivision within the eclectic style of Soft Rock is a bit hair splitting. Adult Contemporary is still being broadcasted on specialized radio channels throughout the world, as these golden Pop Rock classics seem to have a timeless appeal.
", "songlist": [ "Phil Collins - Another Day In Paradise (Official Music Video)", "Top Of The World", "Little Lies", "Barbra Streisand - Woman in Love (Official Audio)", "Howard Jones - What Is Love", "Paul Young - Come Back and Stay (Official Video)", "Why - Carly Simon", "Olivia Newton-John - Physical (Official Music Video)", "Simply Red - Fairground (Official Video)", "Living in a Box - Living in a Box", "Johnny Hates Jazz - I Don't Want To Be A Hero" ], "playlistID": "PLb15rbk6I4pOTId63lqP2QFu1UnhmaYN8", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOTId63lqP2QFu1UnhmaYN8", "spotify-playlist-link": "https://open.spotify.com/playlist/4uke49bC4vi7Mz6E77MlLj?si=Dz1UiGdYRui6jKD18Y_eUQ", "name_zh": "软摇滚 / 成人当代" }, "pop06": { "name": "HI-NRG / EURODISCO
高能舞曲 / 欧洲迪斯科", "year": "1982", "supergenre-first-tag": "POP", "supergenre-second-tag": [ "slave", "(r & b)" ], "description": "
新浪潮（New Wave）运动失控只是时间问题。在光谱的最远端是Hi-NRG（高能量）：一种迪斯科/合成器流行（Synthpop）的类型，其中绝对找不到摇滚的痕迹。这是纯粹的流行音乐：制作精良的合成器流行旋律，由鼓机的脉冲节奏驱动。过度的、颓废的、狂喜的后迪斯科-原初浩室（Post-Disco-Proto-House），沉浸于时尚、迪斯科舞厅和上层阶级风格的世界，并与同性恋派对密切相关。\n\nHi-NRG、欧陆迪斯科（Eurodisco）或电子迪斯科（Electro-Disco）比普通迪斯科快得多、音调也更高。低音非常少，但有一个通过调制变得充满未来感的持续重复节奏。最著名的欧陆迪斯科歌曲是Giorgio Moroder的I Feel Love（由Donna Summer演唱），它远远领先于时代。将近五年后这一流派才全面展开，但Moroder已经播下了所有后续舞曲音乐的种子。Hi-NRG的一个特定标志是megamix：由不同歌曲混合而成的超长编辑版。Hi-NRG的代表艺术家包括Divine、Sylvester、Dead or Alive以及The Weather Girls。
It was only a matter of time before the New Wave movement would spin out of control. At the far end of the spectrum (the final stage) was Hi-NRG (= high energy): a type of Disco/Synthpop where there was absolutely no trace of Rock left to find. This was pure Pop music: slickly produced Synthpop melodies driven by the pulsing rhythm of drum machines. Over-the-top, decadent and ecstatic Post-Disco-Proto-House indulged in a world of fashion, discotheques and upper class style and heavily associated with homosexual parties. Hi-NRG, Eurodisco or Electro-Disco is much faster and more high-pitched compared to regular Disco. There’s also very little bass, but a constant repetitive rhythm made futuristic by modulations. The most well-known Eurodisco song is Giorgio Moroder’s “I Feel Love’ (sung by Donna Summer) and it was far ahead of its time. It would take almost five years before the genre would unfold, but Moroder had already sown the seeds of all Dance music to come.

A specific trademark of Hi-NRG was the ‘megamix’: ultralong edits consisting of different songs mixed together to create a non-stop dancing machine. Megamixes were made possible by the introduction of the 12” LP single, allowing longer tracks to be released on single. These mixes showcased producers who became the very first electronic dance DJ’s.

Hi-NRG or Eurodisco is a surprisingly large genre with many subgenres. Italy developed the biggest and most familiar subgenre of Hi-NRG: Italo-Disco, full of silly melodies and lyrics that gave new meaning to the word “catchy”. France took a more futuristic and instrumental approach with Space Disco. And then there is Eurobeat: hyperfast Italo-Disco with a much stronger beat, developing in the late eighties, gaining much popularity in Japan, and forming a bridge towards Eurodance.
", "songlist": [ "Donna Summer I Feel Love Original 8 minute 12＂ version 1977", "Patrick Cowley - Do You Wanna Funk？ (feat. Sylvester)", "Shoot Your Shot", "Miquel Brown - So Many Man So Little Time ( Long Version ) HQ Video Mix By Sergio Luna", "Modern Talking - Atlantis Is Calling (S.O.S. For Love) (Video)", "Ken Laszlo - Hey Hey Guy 🇮🇹 🕺🏻 Italo Disco Classic 💿 🎶", "Mike Mareen - Love Spy [R]", "Lady Fantasy", "Scotch - Disco Band", "Valerie Dore - The Night (Original Version) HD, HQ 🇮🇹 🕺🏻 Italo Disco Classic 💿 🎶", "Radiorama - Desire (1985)" ], "playlistID": "PLb15rbk6I4pNxllSIK-7B0YTbMTV7H7j0", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNxllSIK-7B0YTbMTV7H7j0", "spotify-playlist-link": "https://open.spotify.com/playlist/0pp7N5Bd596VVk9DQmHp4X?si=vza3drEARNukyR5MPoCMUA", "name_zh": "高能舞曲 / 欧洲迪斯科" }, "pop07": { "name": "DISCO POP / POST-DISCO
迪斯科流行 / 后迪斯科", "year": "1984", "supergenre-first-tag": "POP", "supergenre-second-tag": [ "slave", "(r & b)" ], "description": "
在迪斯科（Disco）超级新星内爆的余波中，一个超级庞大、兼收并蓄的后流派打开了，吸收了当时热门的各种元素（但主要是合成器流行和一抹可立即识别的华丽金属吉他独奏）。结果便是迪斯科流行（Discopop）或后迪斯科（Post-Disco）：所有基于迪斯科的流行音乐的集合，几乎等同于八十年代的声音。迪斯科的消亡与后朋克（Post-Punk）的消亡、石油危机的余震以及哥伦比亚可卡因和技术物质主义的急剧上升同步发生。这是为肤浅时代而作的音乐：一层薄薄的霓虹、快车、棕榈树和白色粉末，几乎无法掩盖一种YOLO心态。\n\n但这里不只有沉溺于迪斯科怀旧逃避主义浪潮中的合成器乐队。迪斯科流行主要是那些拥有R&B背景（灵魂乐）并在其继任者迪斯科影响下创作的艺术家们的体现——但他们从未真正制作过纯迪斯科音乐。相反，他们发布了流行跨界作品，成为国际超级巨星。Michael Jackson的Thriller——有史以来最畅销的专辑——就是迪斯科流行的巅峰之作。其他代表包括Prince、Madonna（早期）、Whitney Houston以及Lionel Richie。迪斯科流行标志着流行巨星和音乐录影带作为营销工具的时代。
In the aftermath of the great Disco supernova implosion, a supermassive, eclectic post-genre opened up, attracting a bit of everything that was hot at the time (but mostly Synthpop and a touch of instant recognizable glammy metallic guitar solos). The result is Discopop or Post-Disco: a collection of all Disco-based Pop music that is almost synonymous with “the sound of the eighties”. The demise of Disco happened parallel with the demise of Post-Punk, the aftershock of the oil crisis, and the steep rise of Colombian cocaine and techno-materialism. This was music for the age of superficiality: a thin layer of neon, fast vehicles, palm trees and white powder, barely capable of concealing a yolo-mentality that denied any fear it was actually based upon.

But there was more than synthesizer bands stuck in an escapist wave of Disco nostalgia. Disco-Pop is mainly the embodiment of artists with a R&B background (Soul) who got influenced by its successor Disco, but never really made pure Disco music (as this was strictly dancefloor material). Instead they released Pop crossovers and became international superstars, selling more records than anyone before. Their music is often (mistakenly) labeled as “Dance Pop”, a reference to its irresistibly moving nature. By combining the most-catchy elements of Rock, Synth and R&B, while also implementing less conventional chords and song structures, professional Pop producers donated their artists immaculately crafted superhits eternalized in music’s collective memory.
", "songlist": [ "Michael Jackson - Billie Jean (Official Video)", "Madonna - Papa Don't Preach (Official Video) [HD]", "Whitney Houston - So Emotional (Official Video)", "Miami Sound Machine - Dr Beat", "Boys (Summertime Love)", "Laura Branigan - Self Control (Official Music Video)", "Tina Turner - Steamy Windows (Official Music Video)", "Samantha Fox - Touch Me (I Want Your Body)", "Lipps Inc. - Funkytown (Official Audio)", "Yazoo - Don't Go (Official HD Video)" ], "playlistID": "PLb15rbk6I4pOLo66bxiTMXf_oW1Nv7IMK", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOLo66bxiTMXf_oW1Nv7IMK", "spotify-playlist-link": "https://open.spotify.com/playlist/5DdhmUxYPYu7Pk8JAnqGqX?si=KOEn2rbwRhem4dBDgNzmPQ", "name_zh": "迪斯科流行 / 后迪斯科" }, "pop08": { "name": "INDIE POP (TWEE)
独立流行 / 矫饰流行", "year": "1986", "supergenre-first-tag": "POP", "supergenre-second-tag": [ "slave", "(alternative)" ], "description": "
美国大学社区在七八十年代维持着业余创作歌手（Singer/Songwriter）的持久文化。1979年，民谣摇滚（Folk Rock）的第三波在南方各州出现，并与相关的乡村摇滚（Country Rock）交融。这一波被称为校园流行（College Pop），变得更加流行化、低保真（lo-fi）且声音日益业余化。到1982年，校园流行向所谓低保真流行（Lo-Fi Pop）的转变完成。在这些同样的社区中，也有对硬核朋克（Hardcore Punk）的DIY方式的兴趣，以及对全新Jangle Pop/独立摇滚（Indie Rock）风格的兴趣。\n\n这导致了后者一个更柔和的版本：更注重旋律，音色不那么粗糙，驾驭积极、感伤的情感，而非独立摇滚中消极、充满焦虑的情感。因此独立流行（Indie Pop）有时也被称为Twee Pop。许多独立流行艺术家与著名的K-Records厂牌有关联。独立流行因NME的C86合辑磁带（其C81磁带的继任者）而广为人知——这是1986年独立流行艺术家的合辑。独立流行的声音特点是不加雕琢、几乎是起步阶段的Lo-Fi音质，但这正是其魅力所在——一种DIY真诚感，与八十年代主流流行音乐的光鲜制作形成鲜明对比。代表乐队包括The Pastels、The Vaselines、Belle and Sebastian（早期）以及Talulah Gosh。
College communities in the US had a sustained culture of amateur Singer/Songwriter during the seventies and eighties. In 1979, a third lesser known wave of Folk Rock emerged in the southern states and mingles with related Country Rock. This wave, known as College Pop, becomes more poppy, lo-fi and increasingly amateuristic in sound. By 1982, the formation of College Pop into so called “Lo-Fi Pop” is complete. In the same communities there was an interest in (Hardcore) Punk Rock’s DIY approach too as well as the brand new Jangle Pop/Indie Rock style too. This led to a softer version of the latter, with more focus on melody and less of an abrasive sound harnessing positive, sentimental emotions instead of Indie Rock’s negative angst-filled ones. Therefore Indie Pop is also sometimes known as “Twee (Pop)”. A lot of Indie Pop artists were affiliated with the noteworthy K-Records label. Indie Pop became widely known thanks to New Musical Express’s C86 tape (the successor of its C81 tape), which was a compilation of Indie Pop artists in 1986. These artists never achieved the same fame as their Rock companions, but were influential as a whole. Witnessing an unsophisticated, almost rudimentary sound by such an overwhelming amount of artists instilled a great deal of confidence in many Rock and Pop bands to come. Because even though Twee Pop is mostly associated with the late eighties, the genre is still a significant music style, harboring a vast number of Alternative Pop artists.
", "songlist": [ "The Pastels - Nothing to be done", "Beat Happening - Godsend", "The Wedding Present - Kennedy", "Belle and Sebastian - Another Sunny Day", "Tiger trap- puzzle pieces", "The Field Mice - Emma's House", "01 - Shop Assistants - I Don't Want To Be Friends With You" ], "playlistID": "PLb15rbk6I4pO6Sfv1Q0Nm_XgJXI5ckDNg", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO6Sfv1Q0Nm_XgJXI5ckDNg", "spotify-playlist-link": "https://open.spotify.com/playlist/4qU7dQ3dAMMfuSkgvms92m?si=tc7D7A3qTiKKKoGv9VDJaw", "name_zh": "独立流行 / 矫饰流行" }, "pop09": { "name": "ASIAN POP
亚洲流行", "year": "1991", "supergenre-first-tag": "POP", "description": "
亚洲流行音乐（Asian Pop）在音乐谱系中常被忽视。主要原因是它显然作为一个总称使用，当审视各个亚洲流行流派时，其中大多数只是对现有（西方）流派的轻微重新诠释。然而，从定义上讲它不属于世界音乐，因为主要涉及的国家（中国、日本和韩国）毫无疑问技术上是先进的。另类和实验性的亚洲音乐，如J-core和J-noise，不包括在这里，而归入其对应的超级流派中。\n\n在音乐上，中国是迄今为止最保守的国家——互联网访问受限，且对中国传统音乐保持强烈坚守。然而，中国仍处于一场伟大的革命进程中，仅在最近（八十年代）才开始与摇滚乐进行微妙的跨界，产生了C-pop（华语流行乐）。注意：这一术语适用于所有华语演唱的音乐，不仅限于中国本土的音乐。在日本，对更技术化音乐流派有显著的兴趣。与C-pop一样，J-pop是一个总称术语，但范围要广得多。关键流派包括涩谷系（Shibuya-Kei）和视觉系（Visual Kei）。韩国——K-pop（韩国流行乐）的故乡——已成为亚洲流行音乐中最全球化的力量，以其精心编排的偶像团体、高度打磨的制作和狂热的粉丝文化为特征。
Asian Pop music is often neglected in music genealogies. The main reason is that it serves obviously as a portmanteau and when one looks at the individual Asian pop genres, the majority of them are minor reinterpretations of existing (western) genres. However, it is not world music definition-wise as the main countries of subject (China, Japan, and South-Korea) are without a doubt technically advanced. Alternative and experimental Asian music, like J-core and J-noise, are not included here but with their corresponding super-genres.

Musically, China is by the far the most conservative country, with restricted access to internet and a strong uphold of traditional Chinese music. However, China is still in a process of great revolution and has only recently (in the eighties) begun with subtle crossovers to Rock music, resulting in C-Pop. Beware: the term applies to all Chinese spoken music, not only music from China.

In Japan, there is a prominent interest in more “technological” music genres. Just like C-pop, J-pop is an umbrella term, but a much wider one, which encompasses just about any and very diverse Japanese music. Key genres are Shibuya-Kei (Urban Shoegazing) and Visual Kei (a sort of Glam Metal). Commercial Dance Pop (often consisting of girl groups) is also prominent while an escapist, minimal type of Synthpop known as Technopop in Japan, accompanies perfectly Japan’s Zen philosophy. Japan has always had an incredibly broad interest in foreign popular music and is known for demanding special Japan-distributed albums of well-known artists with more songs than the original.

In South Korea, a large shockwave of new popular culture across the country known as “Hanryu” dramatically changed the musical landscape in the last decades. Sometimes the term is also applied to Korean New Wave music, yet in a much broader meaning of the genre. Out of this music, pure K-pop emerges as an extremely fashion- and image-oriented, boysband/girlsband Electrodancepop. With the advent of music streaming and social media, K-pop became massively popular and Korea’s biggest export product. Its sexual subcontext is well placed in a country where perfection of appearance and online lifestyle is rule, not exception.
", "songlist": [ "The Moon Represents My Heart - Teresa Teng", "Roman Tam 羅文 Medley", "張國榮 Leslie Cheung【追 Chase】Official Music Video", "Yellow Magic Orchestra - Tong Poo (Music Video)", "宇多田ヒカル - Passion ～single version～", "浜崎あゆみ ⧸ SEASONS (Short Ver.)", "Serani Poji - Octopus Daughter", "Royz「EGOIST」MUSIC VIDEO", "PSY - GANGNAM STYLE(강남스타일) M⧸V", "서태지 와 아이들 (SeoTaiji and Boys)- 난 알아요 (I Know)", "Baby VOX - Coincidence [MV] [HD] [Eng Sub]" ], "playlistID": "PLb15rbk6I4pNwQZilORmGvPN9PTyfwZ2b", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNwQZilORmGvPN9PTyfwZ2b", "spotify-playlist-link": "https://open.spotify.com/playlist/6cFg1tHoijGh6gDQnYFcxV?si=mitVoC16RsOuLp7qtFc8Iw", "name_zh": "亚洲流行" }, "pop10": { "name": "BRITPOP
英式摇滚", "year": "1994", "supergenre-first-tag": "POP", "supergenre-second-tag": [ "master", "ALTERNATIVE" ], "description": "
如果每一种反应都有一个再反应，那么英式流行（Britpop）就是对垃圾摇滚（Grunge）的再反应（因为垃圾摇滚本身就是对华丽金属Glam Metal的一种反应）。够了那些软弱、压抑的悲伤，回归华丽的摇滚吧！这种柔和但朗朗上口的流行乐类型，有时被认为是九十年代最不具原创性的流派。在听觉层面上确实没有太多令人震撼的东西：明确向英国（当然）默西节拍（Mersey Beat）致敬，但被独立摇滚（Indie Rock）的粗糙感所加强，有时辅以合成器和电子效果营造某种华丽氛围。\n\n使这一流派如此出名、流行且定义明确的，并非其声音，而是其摇滚精神：英国主唱们自命不凡的态度——决心征服舞台、抢尽风头、令大众敬畏。这种态度有其原因：许多英国乐队对九十年代初期美国摇滚乐队在英国热门排行榜上的整体主导地位感到厌倦（主要是垃圾摇滚的缘故）。因此，他们创造了一种强烈的反美音乐流派，影响来源非常狭窄（全部是英国）。英式流行以Oasis与Blur之间的传奇对决为代表。Oasis代表工人阶级的北方摇滚态度，Blur则代表更艺术化的南方流行感性。其他关键乐队包括Pulp、Suede以及Supergrass。英式流行是英国流行文化中最后一次伟大的吉他音乐运动。
If every reaction has a “re-reaction”, then Britpop is the re-reaction to Grunge (since Grunge was a reaction itself against Glam Metal). Enough with all the feeble, depressing sorrow and back to glamorous Rock! This soft but catchy kind of Pop is sometimes credited as the least original genre of the nineties. On an auditory level there is indeed not much shocking: a clear wink to British (of course) Mersey Beat but roughened up by the presence of Indie Rock, with sometimes synthesizers and electronic effects to cast a certain glam mood. What makes the genre so well-known, popular and clearly defined is not its sound then, but the Rock ‘n’ Roll mentality of it: the cocky attitude of British frontmen determined to conquer the stage, steal the show and awe the masses. There is a reason for such attitude: many British bands were fed up with the overall dominance of American Rock bands in the British hit charts of the early nineties (mostly due to Grunge). As such they created a strong anti-American music genre, with a very narrow range of influences (all British). Of course, the sound, vocals and song structure are all means to this end. Which explains why Britpop is same meat, different gravy, but very attractive.
", "songlist": [ "Oasis - Wonderwall (Official Video)", "Blur - Song 2 (Official Music Video)", "Pulp - Common People", "Suede - Animal Nitrate (Remastered Official HD Video)", "Supergrass - Moving (Official HD Video)", "Mansun Wide Open Space", "Dodgy - Good Enough", "Ocean Colour Scene - Hundred Mile High City" ], "playlistID": "PLb15rbk6I4pMkzlE74l22CWQs9pddqL8K", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMkzlE74l22CWQs9pddqL8K", "spotify-playlist-link": "https://open.spotify.com/playlist/43UdilV2IVud7puid9nc4s?si=UT334wSwT1OzMlz-squ0Gw", "name_zh": "英式摇滚" }, "pop11": { "name": "DANCE POP
舞曲流行", "year": "1995", "supergenre-first-tag": "POP", "description": "
在八十年代，流行音乐从纯商业商品转变为一个更大的事业：派对和音乐会产业，在这里可以获得巨大的财富。1984年的Live Aid演唱会就是一个关键时刻。在迪斯科流行（Disco-Pop）之后，大型唱片公司将目光转向舞曲音乐，因为欧陆舞曲（Eurodance）已被证明非常有利可图。因此，舞曲流行（Dance Pop）是舞曲（主要是浩室音乐）与流行音乐的融合，与迪斯科流行或都市流行（Urban Pop）不同，尽管在流行音乐这个兼收并蓄的世界里——销售价值高于流派完整性——大量重叠相当常见。\n\n大多数舞曲流行艺术家是女子组合或男子组合——资本主义流行音乐的缩影。精心编排的年轻女孩或男孩团体通过拥有不同的刻板性格来制造认同的幻觉，但一切都指向一件事：卖弄性感。在舞曲流行中，音乐远比歌词重要——歌词仅作为朗朗上口的跟唱短语。代表艺人包括Britney Spears、*NSYNC、Backstreet Boys、Spice Girls以及Kylie Minogue。制作人如Max Martin在塑造这一风格中发挥了关键作用，打造出以强劲hook和精密声乐编排为驱动的热门单曲。
In the eighties, Pop music changed from a pure trade commodity (records to sell to teens) to a much bigger enterprise: a party and concert industry, where vast wealth was possible to obtain. The Live Aid concert in 1984 for example (one of the biggest concerts of all time) is a pivotal moment. After Disco-Pop, major record labels turned their eye towards Dance music, as Eurodance had proven to be very profitable. Thus, Dance Pop is the fusion of Dance (mostly House) with Pop and is not the same as Disco-Pop or Urban Pop, though a large amount of overlapping is fairly common in the eclectic world of Pop music, where sell value presides over genre integrity. Most Dance Pop artists are girlsbands or boysbands, the epitome of capitalistic Pop. Choreographed ensembles of young girls or boys create an illusion of identification by having a different stereotypical personality, but all aimed at one thing: selling sex. More than ever before, Dance Pop marketed itself to young teens (whether male or female) with the sex-appeal of barely older artists. In Dance-Pop, the music is far more important than the lyrics, which only serves as catchy sing-along phrases.

Besides girlsbands, boysbands and Dance Pop soloists, a new wave of Eurodance artists started to make an incredibly poppy and lightweight version of Eurohouse at the end of the nineties, ushering in the end of the genre. This genre, “Eurodance Pop”, is a lot less R&B influenced than pure Dance Pop and more uptempo with stronger beats.
", "songlist": [ "Britney Spears - Toxic (Official HD Video)", "Spice Girls - Who Do You Think You Are (Official Music Video)", "Backstreet Boys - Everybody (Backstreet's Back) (Official HD Video)", "Five - Everybody Get Up (Official Video)", "＊NSYNC - It's Gonna Be Me (Official Video)", "East 17 - It's Alright (Official HD Video)", "George Michael - Fastlove (Official Video)", "P!nk - Get The Party Started (Official Video)", "Aqua - Barbie Girl (Official Music Video)", "Vengaboys - We like to Party! (The Vengabus)", "Eiffel 65 - Blue (Da Ba Dee)" ], "playlistID": "PLb15rbk6I4pPm-PfDO2PyxB-kPvvZ1zML", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPm-PfDO2PyxB-kPvvZ1zML", "spotify-playlist-link": "https://open.spotify.com/playlist/2yxsZftnikeu0Jk6k8Z5al?si=sT4R4_A9S8q0erDYjtv5SA", "name_zh": "舞曲流行" }, "pop12": { "name": "ELECTROCLASH (NU WAVE)
电子冲突 / 新浪潮复兴", "year": "2001", "supergenre-first-tag": "POP", "supergenre-second-tag": [ "slave", "(house)" ], "description": "
合成器流行（Synthpop）及其周围的新浪潮（New Wave）亚文化问世二十年后，早该迎来复兴了。可能是因为人们厌倦了浩室（House）/高科技舞曲（Techno）/迷幻舞曲（Trance）的相同节拍以无尽方式循环利用。EDM大革命的巅峰已过，不再有趣。回归合成器声音的实验性方法、节拍的从属角色、艺术化的歌词以及对形象、设计和时尚的强烈关注——这些关键成分几乎无法掩饰这一流派作为某种新事物的面目。\n\n确实，电撞（Electroclash）就是合成器流行2.0版，被公正地称为新新浪潮（Nu Wave），但它也融合了大量极简浪潮（Minimal Wave）的影响。但原创性并不是重点。电撞是关于乐趣和无意义的音乐，不会拼命试图变得创新或革命性。这是一份证明：新千年（以及伴随它的舞曲音乐）并未改变世界，而这并不重要。电撞通常也被标记为复古未来主义的开始，主题涉及冷漠、孤立和疏离。电撞的关键艺术家包括Fischerspooner、Ladytron、Peaches、Miss Kittin & The Hacker以及Tiga。它是艺术学校感性、地下俱乐部文化和时尚界之间的交汇点。
Twenty years after its arrival, Synthpop (and the New Wave subculture around it) was badly due for a comeback. Probably because people were fed up with the same House/Techno/Trance beat being recycled in unending ways. The great EDM revolution was past its peak and not interesting anymore. A return to the experimental approach of synthesizer sound, the submissive role of the beat, artsy lyrics and a heavy focus on image, design and fashion were the key ingredients that could barely disguise this genre as something new (though there was of course an evolution of instruments, computers and influences from House noticeable). Indeed, Electroclash is Synthpop version 2.0 and righteously referred to as “Nu Wave” (but it also features a lot of Minimal Wave influences). But originality, that wasn’t the point. Electroclash was music of fun and nonsense, that didn’t desperately try to be innovative or revolutionary. A testament that the new millennium (and Dance along with it) hadn’t changed the world and that it didn’t matter. Electroclash is often also marked as the start of retro-futurism, with themes of coldness, isolation and alienation. A theme further expanded by Synthwave and Vaporwave.
", "songlist": [ "Fischerspooner - Emerge", "Les Rythmes Digitales - Jacques Your Body (Make Me Sweat)", "Felix Da Housecat - Madame Hollywood feat. Miss Kittin", "TIGA - Sunglasses at night", "La Roux - In For The Kill (Official Music Video)", "I-F Space Invaders - Are smoking Grass", "Ready For The Floor", "Chicks on Speed - Wordy Rappinghood", "Miss Kittin - Bassline", "Detroit Grand Pubahs - Sandwiches (Official Video)" ], "playlistID": "PLb15rbk6I4pOpj7PRmN4UOsan54XYZQJ4", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOpj7PRmN4UOsan54XYZQJ4", "spotify-playlist-link": "https://open.spotify.com/playlist/2lM2ieCBZTY0p0BHRIFe57?si=tnCptYBOQEqPWx4q49JAdQ", "name_zh": "电子冲突 / 新浪潮复兴" }, "pop13": { "name": "ELECTROPOP
电子流行", "year": "2006", "supergenre-first-tag": "POP", "description": "
电子流行（Electropop）可作为一个总括性术语，涵盖所有形式的电子或使用合成器的流行音乐。在其狭义定义中，它是主流和舞曲导向流行音乐的最新发展。如果说舞曲流行（Dance Pop）是八九十年代受迪斯科影响的主流音乐，那么电子流行就是零零年代和一零年代受电子乐（Electro）影响的主流音乐。这里的Electro一词涉及电撞（Electroclash，因此间接涉及合成器流行）与电子浩室（Electro-House）的结合。\n\n后者尤为重要，因为它将低频合成器声音引入了电子流行，通常以粗糙、失真的方式呈现。这使得电子流行比其前身舞曲流行更加大胆，同时也面向更成熟的受众。一个非常小的子流派——Wonky Pop——在零零年代末短暂流行过。在千禧年之交，热门排行榜音乐中的所有迪斯科和浩室元素已不再新鲜和当代。电撞以及后来的电子浩室将流行音乐的焦点从温暖的R&B式律动节拍转变为清爽的数字节拍。代表艺人包括Lady Gaga（她以The Fame将电子流行带入主流）、La Roux、Owl City、Robyn以及Kesha。
Electropop can be used as a comprehensive term encompassing all forms of Electronic or synthesizer-used Pop. In its narrow definition, it is the latest development of dominant mainstream and dance-oriented Pop music.

If Dance Pop is the Disco-influenced mainstream music of the eighties and nineties, then Electropop is the Electro-influenced mainstream music of the nillies and tens. The word “Electro” here concerns the combination of both Electroclash (and thus Synthpop indirectly) and Electro-House. Particularly the latter is important, as it has introduced low frequency synth sounds in Electropop, often in a rough, distorted manner. This makes Electropop a lot “nastier” and daring than its predecessor Dance Pop, while also focusing on a more mature audience. A very small subgenre, Wonky Pop, was briefly popular at the end of the nillies, but being only defined by the use of “unstable” or “wonky” sounds in Electropop, it is hardly worth considering a true genre. By the turn of the millennium, all Disco and House elements in hit chart music were not fresh and contemporary anymore. Electroclash and later Electrohouse changed the focus in Pop from a warm R&B-type groove beat to a crisper sound with higher dynamic range. This has made the music somewhat less infectious compared to Dance-Pop, but more eclectic and flexible, thus able to reach an even larger audience.

Where Dance Pop was heavily steered out of a record label or producer’s perspective, Electropop artists take great pride in own personality and personal touch. Remarkable is the fact that almost all Electropop artists are female vocalists. Despite the fact that they are pushed forward nowadays by record companies due to a loyal idolizing female fanbase and a seductive image of sex to attract a male fanbase, they are all well-aware entrepreneurs: an interesting discrepancy with the historical dominance of male (puppet) crooners in Brill Building Pop. In a certain way, Electropop marks the end of an industry’s century-long hegemony, starting all the way with Tin Pan Alley: Pop Inc.
", "songlist": [ "Lady Gaga - Poker Face (Official Music Video)", "Kylie Minogue - Can't Get You Out Of My Head (HD)", "Ke$ha - TiK ToK (Official HD Video)", "Robyn - Indestructible", "Katy Perry - I Kissed A Girl (Official Music Video)", "The Knife - Heartbeats (Official Video)", "Ladyhawke - Black White & Blue (Official Video)", "Lily Allen ｜ The Fear (Official Video - Explicit Version)", "Taylor Swift - 22", "Lorde - Royals (US Version)", "Róisín Murphy - Overpowered (Official Video)" ], "playlistID": "PLb15rbk6I4pPM15vTEXQrLlcaZ4zm6xhR", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPM15vTEXQrLlcaZ4zm6xhR", "spotify-playlist-link": "https://open.spotify.com/playlist/2ZM1Prgo0FJLboTdB7byPN?si=Tn9jywblQ9qgtxsOgDNGmg", "name_zh": "电子流行" }, "pop14": { "name": "SCHLAGER
施拉格流行", "year": "1950", "supergenre-first-tag": "POP", "description": "
一个在音乐谱系中常被遗忘的庞大流派是Schlager（施拉格尔）。这个词也是歌曲类型的同义词，在德语中意为热门歌曲（schlagen = 打击）。但该流派的覆盖范围远不止德国和奥地利。邻国荷兰和比利时，以及前南斯拉夫国家和瑞典、芬兰，都有丰富的Schlager音乐传统。其根源深植于传统民谣音乐（特别是城镇传报员和吟游诗人），但在某些国家，这种风格早在三十年代就已演变为更流行的音乐形式。\n\n如同吟游诗人的歌曲，Schlager是充满情感的、多愁善感的情歌，尽管本质上往往流于肤浅。它们讲述关于爱情、不幸或幸福的故事，但始终以保守和政治正确的方式进行。二战后，特别是摇滚乐革命之后，Schlager歌手转入防御姿态，因为他们感到被这种新型流行音乐所威胁。由于蓝调、爵士乐和乡村音乐在战前欧洲几乎没有影响，摇滚乐的兴起在这里是更大的冲击。因此，大量Schlager作品的产出出现了——为了保护本土传统免受美式摇滚乐的冲击。Schlager的标志性特征是简单的旋律、易于跟唱的副歌以及健康的、面向家庭的歌词。代表艺人包括Helene Fischer（当代Schlager女王）、Udo Jürgens、Andrea Berg以及荷兰的André Hazes。
An enormous genre often forgotten in music genealogies is “Schlager”. The word is also synonymous with the type of song (“a Schlager”) and is German for hit song (to hit = schlagen). But the genre has a much greater reach than simply Germany and Austria. Neighboring countries Netherlands and Belgium, as well as former Yugoslavian countries and Sweden and Finland all have rich traditions of Schlager music. Its roots lie deep in traditional Folk music (particularly town criers and troubadours) but the style evolved into a more popular form of music starting as early as the thirties in some countries. Like troubadour songs, Schlagers are emotional, sentimental ballads, though often superficial in nature. They tell tales about love, misfortune or happiness, but always in a conservative and politically correct manner. After World War II and especially the Rock ‘n’ Roll revolution, Schlager singers went on the defense, as they felt threatened by this new type of popular music. Since Blues, Jazz and Country had little influence in prewar Europe, the rise of Rock ‘n’ Roll was even a greater shock and of more significance there. Thus a much greater production of Schlagers saw the light, produced in a lightweight pop manner with piano, guitar, accordion or folk instruments. Each country has its own history and differences when it comes to Schlager, but the common thread outlined here stretches outside borders. Schlager remains an undying genre, alive in many “folky” bars, community centers, or at huge Schlagerfestivals.
", "songlist": [ "Mit 17 Hat Man Noch Träume", "Roy Black & Anita - Schön ist es auf der Welt zu sein", "Andrea Berg Wenn du mich willst", "De Smokkelaar -joHnny Hoes", "Bobbejaan Schoepen - De lichtjes van de Schelde", "Hazes - Zij gelooft in mij", "Ivo Robić - Samo jednom se ljubi 1956.", "Novi fosili - Milena (Official lyric video)", "Georg Malmsten - Stadin kundi", "Toto Cutugno - L'Italiano (1983)" ], "playlistID": "PLb15rbk6I4pPw9H5zua5DfviQSw5huyGw", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPw9H5zua5DfviQSw5huyGw", "spotify-playlist-link": "https://open.spotify.com/playlist/5tOLVkhd9tFlxd72f87WUk?si=dcZY6QBPTleVuJ3KzWFD7Q", "name_zh": "施拉格流行" }, "cou01": { "name": "CLASSIC COUNTRY / HILLBILLY
经典乡村 / 乡巴佬音乐", "year": "1925", "supergenre-first-tag": "COUNTRY", "description": "
对于许多不熟悉这种音乐的非美国人来说，乡村音乐（Country）感觉像是一个微小且无足轻重的流派。然而，乡村音乐几十年来一直是美国最畅销的流派之一——根据多项统计数据，它至今仍位居销量最高的类别之列。在七十年代，美国公民可以收听超过 600 家不同的乡村音乐电台。该流派一直与电台紧密相连，是最早通过电波进入众多美国家庭客厅的音乐流派之一。\n\n经典乡村（Classic Country）和乡巴佬音乐（Hillbilly）是最早的形式——简单、原声驱动的歌曲，关于家庭、信仰和日常生活的艰辛。小提琴提供了旋律，吉他提供了节奏，而人声诉说着故事。这种音乐深深扎根于阿巴拉契亚的民间传统和英国民谣，重新塑造以适应美国南方乡村经验。
Before Country, there was already evidence of a type of music played by white Americans living in the hills or rural areas (the countryside, especially Appalachia) and (so-the-tale-goes) often named Billy: the Hillbillies. They made acoustic music with whatever instrument they could lay their hands on: classic guitar, fiddle, mandolin, banjo, bass, and later Hawaiian style slide guitar. All these instruments produced sharp, short tones fitting for the rough, mountainous environment.

Irish and British Folk music, popular among European immigrants in the US, laid the foundations for a new kind of hymn that formed the blueprint for Country. And under the influence of Blues and Celtic Folk, this liquor- (and gun-) fueled proto-country or Hillbilly music gradually became a whole new group of music. The lyrics of Classic Country dealt with individual stories like Blues, but were more suited for a younger audience (there was no place for sex and drugs in Classic Country). Country describes tales which support family values, despite a degree of drinking and shooting that went along with the music.

Eventually Country gets shaped into a unique, fully fledged genre that also took cues from Tin Pan Alley pop music, ballads, and parlor songs. Unsurprisingly, this fresh and brewing melting pot quickly led to many small subgenres, such as Country Gospel (fusion with Gospel) and Cowboy & Western (Midwestern Country music recollecting the Far West).
", "songlist": [ "Jimmie Rodgers - Waiting for a Train", "The Carter Family - Will You Miss Me When I'm Gone [1935]", "I've Been Everywhere", "Roy Acuff - Great Speckled bird", "03 - Goebel Reeves - The Drifter Part 1", "J.E. Mainer's Mountaineers Fatal Wreck Of The Bus (BLUEBIRD B-6290) (1936)", "＂When The Work's All Done This Fall＂ - Carl T. Sprague (1925 Victor)", "HALLELUJAH! I'M A BUM - Harry MAC McClintock - 1928" ], "playlistID": "PLb15rbk6I4pO1M-4xyPB-lB5jknaNu6df", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO1M-4xyPB-lB5jknaNu6df", "spotify-playlist-link": "https://open.spotify.com/playlist/2KRvAzBgHJNysdBQK1mPLB?si=9-ebQRDRRrasDTL_udoYrQ", "name_zh": "经典乡村 / 乡巴佬音乐" }, "cou02": { "name": "WESTERN SWING
西部摇摆", "year": "1937", "supergenre-first-tag": "COUNTRY", "description": "
西部摇摆（Western Swing）是乡村音乐遇见爵士乐的时刻。三十年代在得克萨斯发展起来，它将弦乐队的设置（小提琴、吉他、班卓琴）与大乐队的铜管乐器和节奏组混合。结果是乡村的——但可以跳舞，可以摇摆。Bob Wills and His Texas Playboys 是无可争议的国王——他们的歌曲可以在牛仔舞厅和城市夜总会同样受欢迎。\n\n西部摇摆证明乡村音乐不一定是简单的——它可以即兴演奏，可以包含爵士独奏，可以有一种世故的感觉，而不失去其乡村的身份。这种风格也架起了乡村音乐与当时更广泛的摇摆乐热潮之间的桥梁。这是乡村音乐对多样性的早期认可，为后来融合的乡村摇滚奠定了基础。
The big craze that was Swing swiftly got a hold on Country, because entertaining music for large venues where people could dance was a concept that could just as easily be done with Hillbilly music. Except this wasn’t done in fancy ballrooms or concert halls (like Swing), but good ol’ fashion barns. Especially in Texas and Oklahoma the genre proved very successful. When the new technology of amplified guitars was fitted into the hillbilly instrument ensemble, the eclectic genre Western Swing was born. Western Swing borrowed influences from just about any other popular music genre that was already invented (which was a rather scarce collection at the time). Swing rhythms, Jazz solos and many different instruments merged into an unrestricted and original genre. It was also one of the very first music genres to be broadcasted to a large audience by radio. But as radio made Western Swing great, the invention of television killed it.

Western Swing is not the same as Western Country aka Cowboy & Western aka Cowboy music. This genre happened earlier during the early thirties and is your stereotypical cowboy music, often used in Hollywood films and reused by Tin Pan Alley.
", "songlist": [ "Milton Brown & His Musical Brownies 'There'll Be Some Changes Made'", "Bob Wills & His Texas Playboys - San Antonio Rose (1973)", "Hank Thompson ~ The King of Western Swing", "The Texas Wanderers - Rackin' it Back - 1940", "Spade Cooley - ＂Miss Molly＂", "Cotton Eyed Joe by Asleep at the Wheel", "Merle Haggaed／Cherokee Maiden", "Billy Mize From the Salute to Swing Album... Across The Alley From The Alamo", "#1085 Pickin' On Band - My Window Faces The South" ], "playlistID": "PLb15rbk6I4pOJu3myMXpkRfdLcdrs4d2J", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOJu3myMXpkRfdLcdrs4d2J", "spotify-playlist-link": "https://open.spotify.com/playlist/6NCsaaBSyLFSSuLbU3cUxd?si=aGAs5k4AShGjuQbnmZJIKQ", "name_zh": "西部摇摆" }, "cou03": { "name": "HONKY TONK / HARDCORE COUNTRY
酒吧乡村 / 硬核乡村", "year": "1939", "supergenre-first-tag": "COUNTRY", "description": "
酒吧乡村（Honky Tonk）得名于乡村酒吧，那里工人阶级顾客们喝着酒，慢舞着，逃避他们烦恼的生活。它代表了一种更粗犷、更城市化的乡村形式，以酒吧钢琴为支撑，配有鼓和（特别是）踏板钢吉他（pedal steel guitar），后者成为乡村音乐最具辨识度的声音标志。\n\n硬核乡村（Hardcore Country）——不是朋克意义上的硬核，而是指对乡村纯粹主义的不妥协忠诚——将这种美学推到更远，配有鼻音浓重的人声和直白关于酗酒和不忠的歌词。Hank Williams——酒吧乡村最伟大也最悲剧性的偶像——在仅仅二十九年的人生中，以一种至今未有其他乡村艺术家匹敌的强烈个人风格，写出了这些主题的终极版本。他的歌曲如《Your Cheatin' Heart》和《I'm So Lonesome I Could Cry》仍然是悲伤的标杆。
Country before the forties had a bit of a multiple personality disorder. While one part of it evolved as a crazy, fun barn dance music, the other part went the opposite way. It evolved as an introvert, back-to-the-roots music that wasn’t happy at all, and often involved tragic ballads, known as Honky Tonk. Most Honky-Tonk songs deal about relationship problems, alcohol abuse, financial worries or other misfortune. Instead of large barns, this music was played in the more intimate bars of southern USA, which were called “honky-tonks”. However, honky tonks were still large enough to force the artist to implement electric instrumentation, in order to top the crowd volume-wise. Honky Tonk also introduced a steady 4/4 beat to Country Music, which diverted the genre from Folk. Honky Tonk artists often sang with a thick, southern tongue and in a nasal tone. Combined with cowboy hat, boots, and costume, the caricature of the traditional Country singer was complete. Honky Tonk remains an important separate stream in Country’s history, and is sometimes synonymous with so called “Hardcore Country”. But Hardcore Country can also be an umbrella term for more traditional, pure forms of Country as opposed to eclectic “Soft-Shell” Country Pop or Alternative Country.
", "songlist": [ "Hank Williams - Hey Good Lookin'", "I Walk the Line", "Al Dexter Honky Tonk Blues", "You Win Again - Lefty Frizzell - Featuring Neil LeVang on Lead Electric", "Ernest Tubb - Walking The Floor Over You", "George Jones - Still Doing Time", "Merle Travis Nine Pound Hammer 1951", "Rex Griffin - Lovesick Blues", "Kitty Wells - It Wasn't God Who Made Honky Tonk Angels" ], "playlistID": "PLb15rbk6I4pOW6rhl7el6E-6DCOIUPOXK", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOW6rhl7el6E-6DCOIUPOXK", "spotify-playlist-link": "https://open.spotify.com/playlist/52LWca3ZXEHWs0kH0eoqMl?si=SlvBu249TYSAbrQwPcaizA", "name_zh": "酒吧乡村 / 硬核乡村" }, "cou04": { "name": "BLUEGRASS
蓝草音乐", "year": "1947", "supergenre-first-tag": "COUNTRY", "description": "
蓝草音乐（Bluegrass）是乡村音乐的高速、技艺性、原声形式——由 Bill Monroe and his Blue Grass Boys 在四十年代定义。蓝草以惊人的器乐速度和精确性为特征——班卓琴、曼陀林、小提琴和吉他以快速的琶音模式相互呼应，每个乐器轮流担任带头和伴奏角色。\n\n人声是紧密、高亢的和声——\"高而凄\"（high and lonesome）是其特征。蓝草不是舞蹈音乐；它是一种音乐会传统——观众是为了惊叹于精湛技艺而聚集。这是一种乡村形式的室内乐——要求专注和尊重。蓝草代表了乡村音乐的另一个极端，将这一流派推向纯技术的极限。像 Lester Flatt 和 Earl Scruggs 这样的音乐家完善了这种风格，而后来的进步蓝草乐队如 Alison Krauss & Union Station 证明了它可以适应于现代。
Hillbilly Country evolved into something completely different in the forties. A lot of focus was put on the strings, which were fiercely fiddled, to create another type of Classic Country, called Bluegrass. Bluegrass took its name from one of the first practicing bands: Bill Monroe and the Bluegrass Boys, who in their turn were named after the state Kentucky aka “the Bluegrass Country”. Bluegrass is that typical, atmospheric, hi-pitched, hyperactive country most people know. Violins are very common, alongside mandolin, guitar and banjo. Although Bluegrass sounds like it’s not taking itself seriously, it is actually very reactionary and serious music, rising up against authority. Bluegrass is more zealous than other country genres, spreading forth revolution and highly religious messages, like a musical crusade. A bit like political Folk music one could say, but with a certain supercharged overdrive. Bluegrass swears off electric instruments and is always completely acoustic, like Folk. Improvisation or freewheeling is also a key Bluegrass element.

The genre remained popular and even got some small subgenres, such as the progressive Newgrass in the seventies. The film “Oh Brother Where Art Thou” by the Coen Brothers in 2003 also created a strong reinterest in Bluegrass (and Country in general) during the nillies.
", "songlist": [ "Bill Monroe & The Blue Grass Boys - Uncle Pen (1965).", "Man of Constant Sorrow - The Stanley Brothers", "The Kingston Trio - MTA", "Alison Krauss and Union Station - Two Highways part 1 1989", "Bluegrass Diamonds - After All These Years", "Tony Rice & Ricky Skaggs： ＂The Soul of Man Never Dies＂", "The Blue Sky Boys - Are You From Dixie (1936)" ], "playlistID": "PLb15rbk6I4pOkUforrU5gnAjV0HhTcQcp", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOkUforrU5gnAjV0HhTcQcp", "spotify-playlist-link": "https://open.spotify.com/playlist/4mOMtuMJhLq3paW3geJv6g?si=PC-ryo0ZRXqs2aSQq6jpYw", "name_zh": "蓝草音乐" }, "cou05": { "name": "BAKERSFIELD
贝克斯菲尔德之声", "year": "1954", "supergenre-first-tag": "COUNTRY", "description": "
贝克斯菲尔德之声（Bakersfield Sound）是纳什维尔的叛乱者——加利福尼亚的回应以更粗糙的边缘、电吉他和一种不讲废话的态度为特征。在加利福尼亚的贝克斯菲尔德，乡村音乐与西部摇摆和摇滚乐相遇，产生的是一种与纳什维尔精致弦乐编曲截然不同的声音。\n\nBuck Owens 和 Merle Haggard 是贝克斯菲尔德之声的巨人。Owens 创造了\"贝克斯菲尔德之声\"这一术语——基于刺耳的电吉他、鼓和一种酒吧摇滚的粗粝感。Haggard 则带来社会现实主义——关于工人阶级生活的歌曲，常常涉及监狱、酗酒和遗憾。他标志性的歌曲如《Okie from Muskogee》定义了贝克斯菲尔德的自豪感和政治倾向。贝克斯菲尔德之声代表乡村音乐拒绝了纳什维尔的精致管弦乐，转而支持更真实、更工人阶级的声音。
Bakersfield (Sound) is a lesser known type of Country, named after the place where it originated: the city of Bakersfield, California, so it could as well be called West Coast Country. Roots Country musicians came from the midwest to southern California where they brew up a melting pot of Honky Tonk with a pinch of Rock ‘n’ Roll and Western Swing.

Immediately after the rise of Rock ‘n’ Roll, Country started to incorporate Rock ‘n’ Roll elements, but Bakersfield remained a rather traditional type of Country, honoring its Honky Tonk heritage. Typical Bakersfield instruments include Fiddle, Steel Guitar, Drums and Telecaster. This would make it seem that Rock ‘n’ Roll was only a small influence for Bakersfield. However, most instruments were electrified like Rock, and a pronounced backbeat showcased a large difference with its contemporary rival, Nashville Country (which actually was a backlash against Bakersfield’s Rock allures).
", "songlist": [ "Buck Owens & the Buckaroos - Act naturally (1963)", "Merle Haggard & The Strangers Stealin' Corn", "You Better Not Do That (Rerecorded)", "Susan Raye - L.A. International Airport", "Dwight Yoakam - Suspicious Minds (Official Video)", "Wynn Stewart - Playboy (1962)", "Freddie Hart-Easy Loving", "Dennis Payne Come On Home", "Slippin' Away" ], "playlistID": "PLb15rbk6I4pOZ3VWIs8mETZbbEQUlcAOI", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOZ3VWIs8mETZbbEQUlcAOI", "spotify-playlist-link": "https://open.spotify.com/playlist/6ckbzvHQ2L1pH5FSNSopIl?si=tJtKwMu5TKye_faZ-Y7wMA", "name_zh": "贝克斯菲尔德之声" }, "cou06": { "name": "NASHVILLE / COUNTRYPOLITAN
纳什维尔之声 / 都市乡村", "year": "1957", "supergenre-first-tag": "COUNTRY", "description": "
纳什维尔之声/都市乡村（Nashville Sound / Countrypolitian）代表了乡村音乐的光滑化——一种有意识地将乡村音乐推向主流城市观众的努力。在五十年代和六十年代，随着摇滚乐占据主导地位，乡村音乐面临失去听众的危险。纳什维尔之声以繁茂的弦乐编曲、背景人声和一种受流行音乐影响的制作风格为特征——钢琴、弦乐和合唱代替了小提琴和班卓琴。\n\nPatsy Cline 和 Jim Reeves 将乡村音乐带入主流城市听众——他们的跨界热门歌曲证明乡村可以通过巧妙的制作变得通俗。像 Chet Atkins 这样的制作人监督了这种转变，他著名地\"淡化\"了乡村音乐。纯粹主义者抱怨它在出卖根源，但听众大量涌入。纳什维尔之声代表乡村音乐穿上晚礼服的时刻——它在商业上取得了胜利，将一个地区的传统提升为全国性的声音。
Country expands drastically after WW II, thanks to a heightened sense of nationalism, a larger export market (babyboomers), an exponential increase in Country radio stations, and a bigger target audience due to the appeal of electric instruments. The Rock ‘n’ Roll revolution however, threatened Country’s prosperous expansion. Country revolted with a commercialized version of Honky Tonk, a genre that was content-wise quite the opposite of R&R. Honky Tonk had to lose its hardcore edge in order to become more popular. This resulted in a smooth, softer Pop-like Country, with more emphasis on strings and textured instruments. Its name came from the town where most of its slick producers intended to regain the influence back that R&R had stolen from them: Nashville, Tennessee. It was also the town where a lot of huge barn dances with Nashville country were being held, such as the legendary Grand Ole Opry.

Eventually Nashville became even more polished in the form of mainstream Countrypolitan, though these genres may be regarded as synonyms. Countrypolitan experienced accusations of being too superficial and profit-oriented, with “Teflon”-singers in their western suits showing their snowwhite slick smiles and brilliantine haircuts. Nashville was crowned “Cashville”: an easy way to raise some bucks by cashing in on the Country cow.
", "songlist": [ "Tammy Wynette - Stand By Your Man (Official Audio)", "Eddy Arnold - Make the World Go Away (Official Audio)", "Jim Reeves - I Love You Because", "George Morgan - Candy Kisses", "David Houston - Almost Persuaded", "A Wound Time Can't Erase", "T.G Sheppard - Love Made A Liar Out Of Me" ], "playlistID": "PLb15rbk6I4pNTM_wC9pRZQGr_9PizEW47", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNTM_wC9pRZQGr_9PizEW47", "spotify-playlist-link": "https://open.spotify.com/playlist/7KrXZOPdrngvN3YsbcR0Uh?si=uThkK1ASSrmdnnWlc4uUkg", "name_zh": "纳什维尔之声 / 都市乡村" }, "cou07": { "name": "COUNTRY POP & COUNTRY ROCK
乡村流行 & 乡村摇滚", "year": "1968", "supergenre-first-tag": "COUNTRY", "supergenre-second-tag": [ "master", "POP" ], "description": "
乡村流行（Country Pop）和乡村摇滚（Country Rock）是不同的尝试，试图将乡村音乐与当代摇滚和流行听众联系起来——但它们从不同的方向接近这一问题。乡村流行从乡村出发走向流行——John Denver、Glen Campbell 和（后来的）Shania Twain 将乡村的声音元素与主流流行制作结合。结果是在乡村和流行电台上都获得了巨大的跨界成功。\n\n乡村摇滚则从相反方向接近——摇滚音乐家寻找更具泥土气息、更贴近根源的美国声音。像 The Byrds 的专辑《Sweetheart of the Rodeo》（1968年）和 The Eagles 这样的乐队将踏板钢吉他和乡村和声引入摇滚语境。Gram Parsons——他创造了\"宇宙美国音乐（Cosmic American Music）\"这一术语——是这种融合的最具创新精神的人物。乡村摇滚代表了摇滚乐对其乡村根源的认可，并帮助为后来更广阔的\"美式草根音乐（Americana）\"运动打开了大门。
At the end of the nineties, Rock crosses over into two different directions: harder Blues Rock/Metal versus Country. What started as typical Folk Rock of the sixties, gradually got mixed up with Country and becomes Country Rock. This explains a great deal of overlapping between both genres. But via Folk Rock, Country Rock also reaches back to the fifties; to the pre-Merseybeat period. And this is its cardinal feature: Country Rock is specifically made for those who grew up with Rock ‘n’ Roll, but felt little connection with British or experimental Rock of the sixties. Most well-known artists have a pure Country background and are more interested in using the popularity of Rock to their advantage than the other way around. Strummed acoustic guitars (often 12-string), subtle drums and polyphonic vocals help combine the rebellious spirit of Rock ‘n’ Roll with the customs and arrangements of Country. Eventually Country Rock shakes off its rough feathers to breed Country Pop, though these genres are marginally different.

A lesser used term associated with Country Rock, is West Coast Rock: a loose affiliation of California based Country/Folk/Rock artists of the sixties and seventies. Another term, used as a radio format category, is “Middle of the Road” or MOR., because the music is a middle ground between Rock and Country. Although many MOR radio stations preferred all kinds of Country Pop & Rock, in strict terms it refers only to music before the age of Rock ‘n’ Roll.
", "songlist": [ "Dolly Parton - Jolene (Official Audio)", "Hotel California (2013 Remaster)", "Rockin' in the Free World", "The Flying Burrito Brothers ＂Wild Horses＂", "Gram Parsons - A Song For You", "Charlie Rich - The Most Beautiful Girl (Audio)", "Loretta Lynn - Coal Miner's Daughter", "The Band - The Weight - 11⧸25⧸1976 - Winterland (Official)", "Jake Owen - Days of Gold (Official Video)", "(HQ) Kenny Rogers & The First Edition - Just Dropped In" ], "playlistID": "PLb15rbk6I4pMWm-W2C9r_lqALtBUd_HoJ", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMWm-W2C9r_lqALtBUd_HoJ", "spotify-playlist-link": "https://open.spotify.com/playlist/4b4PgXywM2XYqPxlVbjWxH?si=NquqqaEIQLmeKQyNgQVaKw", "name_zh": "乡村流行 & 乡村摇滚" }, "cou08": { "name": "PROGRESSIVE COUNTRY & OUTLAW COUNTRY
前卫乡村 & 法外乡村", "year": "1973", "supergenre-first-tag": "COUNTRY", "description": "
法外之徒乡村（Outlaw Country）是乡村音乐的叛逆阶段——对纳什维尔之声商业化的一种反动。在七十年代，像 Willie Nelson、Waylon Jennings、Johnny Cash 和 Kris Kristofferson 这样的音乐家拒绝了纳什维尔的\"制作人工厂\"系统，争取艺术家创意控制的权力。法外之徒乡村是更粗糙、更摇滚的——带有一种反映了这场运动反文化态度的态度。\n\n前卫乡村（Progressive Country）代表了一种更具智识性的乡村音乐演进——融入了民谣和社会评论的元素。法外之徒运动也重新定义了乡村音乐的形象：男性们身穿黑色，留有胡须和长发——与纳什维尔闪亮、精致的形象形成了尖锐的对比。它是乡村音乐的朋克前身——在朋克摇滚发明一种体制愤怒的模板之前。这一运动解放了乡村艺术家，使他们可以不受公司规定约束地创作自己的音乐。
In the seventies Country fused with Folk, Pop and Rock, creating many hybrid genres: the first wave was Country Pop, then Progressive Country, and a bit later Outlaw Country (after that followed Urban Country and finally Americana). Progressive Country revolted against the exaggerated slickness of Countrypolitan, using modern day, reflective lyrics. It was more about the songwriter and his message than to make people dance or buy albums. The artist becomes independent and this gets reflected in a Grunge-like image: dirty jeans, greasy hair, plain clothing. Just like Hardcore Country, it was reactionary, intellectual music from big cities with the attitude and instrumental influence from Rock. This form of Country Rock became more and more edgy and rebellious, earning the name Outlaw Country. But by 1978, Outlaw Country starts to dissolve already as the genre takes on different forms and reaches too much mainstream attention.
", "songlist": [ "Willie Nelson - Hard to Be an Outlaw (Official Audio)", "I've Always Been Crazy", "Kris Kristofferson - It's never gonna be the same again (1976)", "Dead Flowers - Townes Van Zandt", "Jerry Jeff Walker - Pissin' In The Wind", "Billy Joe Shaver - Black Rose", "Steve Goodman - How Much Tequila (Did I Drink Last Night)", "Joe Diffie - Prop Me Up Beside the Jukebox (If I Die) (Official Music Video)" ], "playlistID": "PLb15rbk6I4pO2FXAZW6l3k3uuLEl4Wlxu", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO2FXAZW6l3k3uuLEl4Wlxu", "spotify-playlist-link": "https://open.spotify.com/playlist/5YXIUpB0BU4veJnwonkseu?si=KqpHHYhDSpeAjVhqfGnlvw", "name_zh": "前卫乡村 & 法外乡村" }, "cou09": { "name": "URBAN COUNTRY
都市乡村", "year": "1979", "supergenre-first-tag": "COUNTRY", "description": "
都市乡村（Urban Country）描述了一种偏离传统乡村形象的乡村音乐。随着城市听众开始接触乡村音乐——通常是通过跨界热门歌曲——一种不那么明确是\"乡村\"的乡村音乐演变了出来。它在一定程度上借用了软摇滚和成人当代（Adult Contemporary）的制作，较少依赖踏板钢吉他和班卓琴，而更多地依赖钢琴和合成器。\n\n这是乡村音乐的一个过渡时刻，农村和城市的声音正在混合。像 Eddie Rabbitt 和 Kenny Rogers 这样的艺术家填补了这一空间——他们的音乐在两种电台上都能播放。都市乡村表明乡村音乐讲述的故事可以引起任何听众的共鸣，无论他们的邮政编码是多少。它也为九十年代和以后乡村音乐的完全流行跨界铺平了道路。
The so-called second wave of Country Rock actually shifted Country further away from its original roots. Instead of becoming more hardcore, it turned into a slick and glossy archetype. It was barely Rock at all, it was more Country Pop. The popularity of “Urban Cowboy”, a film from 1978 starring John Travolta, got the style going and also lended its name to the genre. With poster boys (or girls) singing catchy, emotional songs without much tempo or volume change, they created sentimental soundtrack music that seemed ripped right off the next big romance or teenage blockbuster. Electric guitars and pianos were used to give Country a more modern feel and Pop Rock/Soft Rock influences were used to appeal Urban Country to an even bigger audience. The hip image of newer country dance clubs, like in Urban Cowboy, became an exploited illusion to sell Urban Country en masse. The commercial (or even greedy) mindset of Urban Country evoked a strong backlash by a new wave of alternative Country musicians who explored opposite directions with Americana.
", "songlist": [ "Willie Nelson - Blue Eyes Crying In The Rain", "Stand by Me", "Alabama - Song Of The South (Official Video)", "She's Single Again", "David Allan Coe - Another Pretty Country Song", "Once In A Blue Moon", "Jason Aldean - Dirt Road Anthem", "Luke Bryan - Drunk On You (Official Music Video)", "ANNE MURRAY - Could I Have This Dance 1980" ], "playlistID": "PLb15rbk6I4pMQHkbx1X7MafkiFEUKQP2W", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMQHkbx1X7MafkiFEUKQP2W", "spotify-playlist-link": "https://open.spotify.com/playlist/1B1IHJCDXuQwnSQBC0kPz6?si=xzUEVevSTxqUkneudqcmjA", "name_zh": "都市乡村" }, "cou10": { "name": "CONTEMPORARY COUNTRY / NEW TRADITIONALISTS
当代乡村 / 新传统主义", "year": "1987", "supergenre-first-tag": "COUNTRY", "description": "
当代乡村（Contemporary Country）/新传统主义（New Traditionalists）代表了八十年代后期对乡村流行化和法外之徒运动的双重反动。新传统主义者在当代制作价值的基础上，重新拥抱了传统乡村的声音——踏板钢吉他、小提琴和故事讲述。像 Randy Travis、George Strait 和 Dwight Yoakam 这样的艺术家证明，乡村音乐可以现代而不背叛传统。\n\n这是乡村音乐重新找回其身份，同时保持相关性的时刻。新传统主义运动是一个关键的转折点——它确立了乡村音乐可以同时是传统的和当代的。\"新传统主义\"这一术语捕捉了这个悖论：虽然听起来像五十年代的乡村音乐，但制作、编排和受众都是现代的。这一运动奠定了九十年代乡村音乐商业爆炸的基础。
Ironically what is called “Contemporary Country” is actually a revival of traditional, Hardcore Country. Young Country artists (both male and female, solo and bands) felt a close relationship to Honky Tonk, Bluegrass, and Western Swing, even if the music existed already long before they were born. With a slight influence from Rock music they revived this type of minimal, pure Country in an updated version with different types of songs: sometimes emotional ballads, otherwise Soft Rock tunes, or even faster and catchy Rock ‘n’ Roll hit singles. Neo-Traditionalism is characterized by an aversion against Country Pop and a deterrence from any Jazz, Blues or Pop influences. But these contemporary artists don’t condemn eclectic Country; they are simply providing a purist counterweight embroidered with vitality and spirit to show newer generations the sound of Country. Regretfully, Contemporary Country was not a real countermovement; its artists practiced very different styles and there was other, more progressive Country in the eighties coming out as well. Nevertheless, the name stuck and helped people find and identify spicy Country music that wasn’t watered down to what they regarded as tasteless Pop-soup.
", "songlist": [ "Wayfaring Stranger - Emmylou Harris", "Randy Travis - Forever And Ever, Amen (Official Music Video)", "George Strait - Check Yes Or No (Official Music Video)", "John Anderson Seminole Wind", "Lyle Lovett： In My Own Mind", "Keith Whitley - When You Say Nothing at All (Official Video)", "The Judds -- Grandpa ( Tell Me 'Bout The Good Old Days )", "Patty Loveless - You Don't Even Know Who I Am", "Ricky Van Shelton - Somebody Lied", "The O'Kanes - Oh Darlin'" ], "playlistID": "PLb15rbk6I4pMIQez14U6MP3eYSgYgRfzV", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMIQez14U6MP3eYSgYgRfzV", "spotify-playlist-link": "https://open.spotify.com/playlist/0dXfSZjNtH1mGPniTliyNA?si=QU-K8yEzShu8G6GG9Z8GHg", "name_zh": "当代乡村 / 新传统主义" }, "cou11": { "name": "AMERICANA / ALTERNATIVE COUNTRY
美式草根 / 另类乡村", "year": "1995", "supergenre-first-tag": "COUNTRY", "description": "
美式草根音乐（Americana）/另类乡村（Alternative Country）是乡村音乐的智力边缘——一种更具自我意识、受摇滚影响的乡村音乐，拥抱质感、精湛技艺和词曲创作，而拒绝纳什维尔主流的光滑制作。它在九十年代作为对当代乡村过度商业化的反动而出现，同样从朋克摇滚对原始性和真实的执着中汲取灵感。\n\n像 Uncle Tupelo（和后来他们的两个分支乐队 Wilco 和 Son Volt）这样的乐队定义了这种声音——乡村乐器和歌曲结构，融合朋克的能量和独立摇滚的敏感性。美式草根音乐的场景扩展到包括所有形式的根植于美国的音乐——蓝调、民谣、福音和乡村——以真实性为首要标准。这是乡村音乐作为艺术而不仅仅是作为娱乐的回归——证明乡村音乐的精神可以比电台定义的乡村更加广阔。
In broad terms, Alternative Country is any type of Country music that doesn’t belong to another genre. It often overlaps with Country Punk aka Cowpunk. Yet this is a rather vague definition and a more constrained, stricter meaning of the genre exists as well.

Urban Country, coming from the big city and big record companies, is considered the mainstream Country of the eighties and nineties. But the genre was despised by many for its extensive production of shallow love songs. The alternative anti-school that followed it in the mid nineties, wanted to make real tragic and strongly sincere music. It was singer/songwriter music: acoustically made and with a message, often political in nature. Considering the fact that Alternative Country is unpredictable and anti-mainstream music, it is neither urban nor rural. And thus it forms a bridge between these two Country worlds, connecting “hardcore” Country musicians with “softshell” ones.

Americana or Alternative Country Rock (Alt Country in short) is being regarded as the third and final wave of Country Rock (after Country Pop and Urban Country), although it really is more of a sort of Country Folk. Not only Country Rock bot also other types of Roots Rock influenced Americana, making it accessible for fans unfamiliar with Country.
", "songlist": [ "Uncle Tupelo - Moonshiner", "Let's Kill Saturday Night (Live)", "Dale Watson - A Real Country Song (1996)", "Lambchop - Up With People", "Wilco - How To Fight Loneliness", "Gillian Welch - The Way It Goes", "Steve Earle - John Walker's Blues", "Flatlanders Jole Blon", "Heartless Bastards - Only For You (Official Music Video)", "The Handsome Family - Far From Any Road (Lyrics)" ], "playlistID": "PLb15rbk6I4pPQloyoqYN21mf0_lZe_-97", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPQloyoqYN21mf0_lZe_-97", "spotify-playlist-link": "https://open.spotify.com/playlist/7wRHynjW4ZAs8bCeRUtIkF?si=__xWckg5Q4SzRw3DqiYaEQ", "name_zh": "美式草根 / 另类乡村" }, "rnb01": { "name": "(EARLY) RHYTHM ‘N’ BLUES
早期节奏蓝调", "year": "1943", "supergenre-first-tag": "R & B", "description": "
跳跃蓝调（Jump Blues）发生了戏剧性的变化——当乐队不再是一个匿名的整体，而是有了一个面孔：主唱，词曲作者。当黑人音乐家带着自己的音乐走上前台，由强劲有力的反拍节奏驱动时，这种音乐迅速被贬低为某种低劣的东西，不适合体面的白人。R&B之前的术语Race Music（种族音乐）已经非常清楚地表明了这一点。Race Music是一个公告牌分类，专门保留给蓝调音乐，因为爵士乐和福音音乐中也有白人音乐家。这种赤裸裸的种族主义在1948年被终止，该术语被Rhythm and Blues（节奏蓝调，缩写为R&B）所取代。因此，起初R&B被视为蓝调的同义词，但它迅速发展为一种独立的风格。\n\n真正的R&B（四十年代的，因为这一术语在世纪末获得了新的含义）乐器非常少，类似于福音音乐。旋律变得更短、更重复，如同连复段（riff），稳定的反拍节奏无处不在。尽管乐器配置稀疏，R&B专注于一种有感染力的节奏，就像原始律动（proto-groove）。比以往任何时候都更强调专辑、表演和歌手个性，节奏蓝调的诞生必须被视为流行音乐史上的里程碑时刻。
(Jump) Blues dramatically changed when the band stopped being an anonymous whole but received a face: the frontman, the singer/songwriter. The moment black musicians stepped forward with their own music, driven by a powerful and driven backbeat, it quickly was discarded as something vile, not meant for “decent, white people”. The previous term for R&B, “Race Music”, already made that very clear. Race Music was a Billboard category reserved for Blues music, as Jazz and Gospel also featured white musicians. Such outspoken racism was put to a halt in 1948, with the replacement of the term by “Rhythm and Blues”, abbreviated as R&B. Thus at first R&B was seen as synonymous with Blues, but it quickly developed into a separate style.

True R&B (from the forties, as the term received a new meaning at the end of the century) had very few instruments, similar to Gospel. Melodies became shorter and more repetitive like riffs, and a steady backbeat is omnipresent. Despite sparse instrumentation, R&B focused on an infectious rhythm, like a proto-groove. With more emphasis on albums, performance and singer personality than ever before, the birth of Rhythm ‘n’ Blues must be acknowledged as a milestone in the evolution of popular music. It creates the concept of high-profile singers with personal music, who combine their songs on albums in order to reach large audiences. And when finally white singers start reshaping R&B in the form of Rock ‘n’ Roll, few realized that they witnessed the shape of grand things to come.
", "songlist": [ "fats domino - blueberry hill", "Tutti Frutti", "Ruth Brown - Tears KeepTumbling Down", "Bo Diddley", "Clyde McPhatter - Rock And Cry", "Johnny Watson - I Say I love yo", "Little Milton - So Mean To Me (Checker)", "DINAH WASHINGTON - RELAX, MAX [Mercury 70968] 1959", "Etta James - Mellow Fellow - Fantastic R&B Dancer.wmv" ], "playlistID": "PLb15rbk6I4pNQ0u8Q_6tJUf8d2bfj8HZK", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNQ0u8Q_6tJUf8d2bfj8HZK", "spotify-playlist-link": "https://open.spotify.com/playlist/4rhwOGoyzg61ScQfUGpfdq?si=ma603QLVSw2str0HyNSyEg", "name_zh": "早期节奏蓝调" }, "rnb02": { "name": "DOO WOP
嘟哇合唱", "year": "1951", "supergenre-first-tag": "R & B", "description": "
Doo Wop是一个常被忽视但熟悉且独特的流派。它由女子或男子组合演唱，以人声和声为特色：一人演唱歌词，其他人则用无意义的音节、哼唱声或拟声词（如Doo Wop，因此得名）进行复调伴唱。有时Doo Wop完全没有乐器，可以纯粹是无伴奏合唱（a cappella）；在节奏蓝调已经适度的乐器配置上又前进了一步。但Doo Wop同样可以轻松地在理发店四重唱的基础上加入伴奏乐队或伴奏乐器。\n\n然而，这种极简配置对大多数Doo Wop艺术家来说并非选择：他们太穷了，买不起任何乐器。虽然许多人徘徊在纽约市，希望一睹财富和名望，但只有极少数人成功了。那些成功的人，他们的音乐中回荡着成功的喜悦。在其流畅、温暖、欢快的声音中（一种和平的战后幸福感），已经可以辨识出即将到来的灵魂乐（Soul）的拥抱。Doo Wop在随后的几十年里经历了复兴，并以微妙的方式影响了大量跨流派歌曲。代表组合包括The Platters、The Drifters以及Frankie Lymon & The Teenagers。
Doo Wop is an often neglected, but familiar and characteristic genre. It’s being performed by girl or boy groups that sing in vocal harmony: one person sings lyrics while the others perform backing vocals in a polyphonic symphony of gibberish and mumbling, humming sounds or onomatopoeias (like “Doo Wop”, hence the name). Sometimes Doo Wop features no instruments at all, it can be purely a cappella; a step further in the already modest instrumentation of Rhythm ‘n’ Blues. But Doo Wop can just as easily feature a supporting band or accompanying instrument on top of its barbershop group. However, this minimal set-up was for most Doo Wop artists not a choice: they were so poor that they couldn’t afford any instruments. And while many of them wandered around in New York city, hoping for a glimpse of fortune and fame, only very few succeeded. The ones that did, had the joy of their success resonating in their music. In its smooth, warm, cheerful sound (a sort of peaceful post-war happiness), one can already distinguish the yet-to-come embrace of Soul. Doo Wop has experienced revivals in subsequent decades and influenced in subtle ways a number of cross-genre songs.
", "songlist": [ "Mills Brothers - Glow Worm (live, 1957)", "Down In Mexico", "IMAGINATION ~ The Quotations (1961)", "Frankie Lymon and the Teenagers - Baby Baby", "Randy & the Rainbows - Denise (with original pictures of the group performing)", "The Clovers - love potion No 9 (HQ)" ], "playlistID": "PLb15rbk6I4pPbcv0d0U3sV8xmNFUvMEvb", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPbcv0d0U3sV8xmNFUvMEvb", "spotify-playlist-link": "https://open.spotify.com/playlist/7Ikdq95phcXF3sVz0gUJEW?si=M4_41OqbRbOq2V_fHsKphA", "name_zh": "嘟哇合唱" }, "rnb03": { "name": "MEMPHIS SOUL / DEEP SOUL / SOUTHERN SOUL (STAX)
孟菲斯灵魂 / 深沉灵魂 / 南方灵魂", "year": "1959", "supergenre-first-tag": "R & B", "description": "
自1943年前后R&B兴起以来，到1959年很多事情已经发生了变化。这是一个充满巨大机遇和希望的年份。在美国南部和中部各州，黑人R&B音乐家将R&B、福音音乐（Gospel）、蓝调（Blues）和一点乡村音乐（Country）投入一个大熔炉。他们正在烹饪一种相当缓慢但同时原始且情感充沛的东西。这种乡村/深沉的/孟菲斯灵魂乐（Rural/Deep/Memphis Soul）以主导唱片公司的名字而闻名：Stax，因此被称为Stax Soul。孟菲斯灵魂乐不仅是第一种灵魂乐，也是最独立的一种。音乐家自己写自己的音乐——直接来自内心——而非由制作人或词曲作者代劳。\n\n歌词通常基于他们在所谓Soul Circuit上的经历：一条几乎所有灵魂乐艺术家都遵循的美国南部路线，沿途充满了爱情、性和烈酒。Deep Soul曲目以其低速度、断奏吉他的使用，以及相比其他灵魂乐更低保真（lo-fi）的制作为特征。后两个特征也显示出向放克（Funk）——Deep Soul的直接继承者——的逐渐演变。当这种音乐在英国流行起来时，它被重新命名为南方灵魂乐（Southern Soul）。代表艺人包括Otis Redding、Sam & Dave、Booker T. & the M.G.'s以及Wilson Pickett。
A lot of things had changed in 1959 since the ascent of R&B around 1943. It was a year of great opportunities and hope. In the southern and middle states of USA, black R&B musicians threw R&B, Gospel, Blues, and a bit of Country into a big melting pot. They were cooking something that was quite slow but also raw and emotional at the same time. This Rural aka Deep aka Memphis Soul became well known under the leading record company’s name: Stax, granting the name Stax Soul. Memphis Soul was not only the first kind of Soul, but also the most independent one. Musicians wrote their own music - straight from the heart - instead of producers or songwriters. The lyrics were often based on their experiences during the so called “Soul Circuit”: a trail in southern USA almost all Soul artists followed, with a high degree of love, sex and liquor along the way.

Deep Soul tracks are recognizable by their low tempo, the use of clipped guitar, and a lo-fi production compared to other Soul. The latter two characteristics also show a gradual evolution towards Funk, the immediate successor of Deep Soul. When the music caught on in the UK, it was renamed as Southern Soul.

The genre rose greatly alongside national black awareness in the sixties, thanks to the civil rights movement and Martin Luther King. Southern Soul was the voice of black pride, but it wasn’t reactionary nor intimidating. Soul does not try to combat it opposes, instead it tries to disarm. Soul vocalists honor the Gospel tradition of forgiveness and harmony. The music is hopeful, warm and portrays intense stories about love and heartbreak that still sound sincere after all these decades.
", "songlist": [ "Otis Redding - (Sittin' On) The Dock Of The Bay (Official Music Video)", "I Wish Someone Would Care", "Percy Sledge - When A Man Loves A Woman (Live)", "Betty Harris - What'd I Do Wrong", "Sam & Dave - Soul Man (Official Audio)", "The Staple Singers - Respect Yourself", "William Bell - I Forgot to Be Your Lover", "Soul Children-Don't Take My Kindness For Weakness" ], "playlistID": "PLb15rbk6I4pPzZD1ZjIPjrTgaVWAVCCUY", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPzZD1ZjIPjrTgaVWAVCCUY", "spotify-playlist-link": "https://open.spotify.com/playlist/4fHgXcOxZjO97e3EuWL4P2?si=XIRNoZM_R-6rcYIR1VdKRA", "name_zh": "孟菲斯灵魂 / 深沉灵魂 / 南方灵魂" }, "rnb04": { "name": "CHICAGO SOUL & DETROIT SOUL (MOTOWN)
芝加哥灵魂 & 底特律灵魂 / 摩城之声", "year": "1962", "supergenre-first-tag": "R & B", "description": "
在乡村地区之后，灵魂乐迅速在都市地区流行起来，在那里它失去了一些乡村的粗糙感（正如乡村音乐所发生的那样）。首先几乎即刻在芝加哥（芝加哥灵魂乐 Chicago Soul），稍后在汽车城底特律（Detroit）。这些都市类型的灵魂乐比平常更快节奏和快乐（南方灵魂乐有时可能是悲剧性的）。实验性的大熔炉变成了工厂生产的流行配方：强劲的反拍、有弹性的旋律贝斯线、四部和声人声（通常是女性）、紧凑的军鼓，通常还有铃鼓。这是高度制作、精心打磨的音乐，尤其是由那家变得如此著名的唱片公司——其名称已成为该流派的同义词——摩城（Motown）。\n\n与芝加哥灵魂乐相比，底特律灵魂乐具有更工业化的声音和制作，且更具舞蹈性。摩城的节奏组（鼓+贝斯或铃鼓）都非常统一但经过深思熟虑。芝加哥和底特律灵魂乐在黑人和白人观众中都异常流行（从而连接了两种文化），而孟菲斯灵魂乐则纯粹面向黑人。在英国，摩城唱片的B面以北方灵魂乐（Northern Soul）之名流行起来。摩城的标志性艺人包括The Supremes、The Temptations、Marvin Gaye、Stevie Wonder以及The Jackson 5。
After the rural areas, Soul quickly caught on in the urban areas, where it lost a bit of that rural roughness (just as happened with Country). First almost immediately in Chicago (Chicago Soul) and a bit later in the motor city: Detroit. These urban types of Soul were more uptempo and happy than usual (i.e. Southern Soul could sometimes be tragic). The experimental melting pot was turned into a factory-produced popular recipe: a strong backbeat, a bouncy, melodic bassline, four part harmony vocals (often female), a tight snare drum, and usually tambourines. It was heavily produced, polished music, especially by that record company that became so well known that its name is a synonym for the genre: Motown. Compared to Chicago Soul, Detroit Soul has more an “industrial” sound and production, and is a lot more danceable. Motown’s rhythm sections (drum + bass or tambourine) were all very uniform but thoroughly contemplated. Chicago and Detroit Soul became exceptionally popular with both black and white audiences (hereby connecting the two cultures), whereas Memphis Soul was purely black oriented.

In the UK, the B-sides of Motown records became popular as Northern Soul. Northern Soul is not really a separate genre. It started as a sales pitch to sell Motown to North-British youth, but soon exploded into a Rave-like subculture of wild parties, where the most dance-friendly, lesser-known Detroit Soul tracks were hunted and played from dusk till dawn.
", "songlist": [ "The Supremes： You Keep Me Hangin On w⧸ Lyrics", "Four Tops - Reach Out (I'll Be There) (1967) HD 0815007", "Stevie Wonder I Just Called To Say I Love You", "Needle In A Haystack.f399", "The Tears of a Clown - The Miracles", "Stay In My Corner", "The Impressions ＂It's All Right＂", "Donny Hathaway - The Ghetto", "Frank Wilson - Do I Love You", "Mel Torme - Comin Home Baby", "Tony Clarke - Landslide" ], "playlistID": "PLb15rbk6I4pPEHKOSkXMEeEbImGPkcuvj", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPEHKOSkXMEeEbImGPkcuvj", "spotify-playlist-link": "https://open.spotify.com/playlist/5slIj2NyQc6ZCx9TrCh5WR?si=yjnV9pwDTZq4f9dqZDt7Bg", "name_zh": "芝加哥灵魂 & 底特律灵魂 / 摩城之声" }, "rnb05": { "name": "PHILLY SOUL (& 60S GIRL GROUPS)
费城灵魂 & 女子组合", "year": "1965", "supergenre-first-tag": "R & B", "description": "
继芝加哥和底特律之后，第三种城市灵魂乐出现了。这次发生在费城，灵魂乐在此将对未来的大量音乐产生巨大影响。费城灵魂乐（Philly Soul）部分源自六十年代初期的女子组合（The Shirelles、The Crystals、The Ronettes），形成了Doo Wop与费城灵魂乐之间的桥梁。这些女子组合与布里尔大厦流行乐（Brill Building Pop）密切相关：由Phil Spector等人高度制作、预先制造的流行歌曲，取得了巨大成功。\n\n费城灵魂乐与芝加哥和底特律灵魂乐共享许多特征，但它更加光滑、更商业化。悲剧性和沉思性的歌词被俏皮所取代。费城灵魂乐不是为了聆听，而是为了娱乐。人声交织和号角仍然存在，但现在它们伴随着激励性或安抚性的弦乐。费城灵魂乐是原初迪斯科（Proto-Disco）：将生长出普遍现代夜生活舞蹈文化的种子。费城灵魂乐引发了白人艺术家也开始制作灵魂乐的显著增长，被称为蓝眼灵魂乐（Blue Eyed Soul）。代表艺术家包括The O'Jays、Harold Melvin & the Blue Notes、The Stylistics以及后来蓝眼灵魂乐的标志性二人组Hall & Oates。
After Chicago and Detroit, a third type of “city Soul” emerged (the term urban Soul applies to something else). This time it happened in Philadelphia, where Soul would have a huge influence on a lot of music to come. Philly Soul partly grew out of the early sixties Girl Groups (the Shirelles, the Crystals, the Ronettes), forming the bridge between Doo Wop and Philly Soul. These Girl Groups were strongly related to Brill Building Pop: heavily produced (e.g. by Phil Spector), premanufactered Pop songs with enormous success.

Philly Soul shares many characteristics with Chicago and Detroit Soul, but it is even slicker and more commercial. Tragic and contemplative lyrics became replaced by playfulness. Philly Soul is not meant to listen to but to have fun with. The vocal interplay and horns are still present, but now they are accompanied by stimulating or sedative strings. Philly Soul is Proto-Disco: the seed that would grow the universal modern nightlife dance culture.

Philly Soul launched a significant rise of white artists who also started to make Soul, dubbed “Blue Eyed Soul”. Especially after the success of Disco, Blue Eyed Soul flourished and continues to do so, though the technical definition of the genre is vague if any.
", "songlist": [ "MFSB - Love Is the Message (Official Audio) ft. The Three Degrees", "The Delfonics-Ready Or Not Here I Come", "The Three Degrees - Dirty Ol' Man (1974)", "The O'Jays - I Love Music (Official Audio)", "Barry White - Let The Music Play", "The Philadelphia International All-Stars - Let's Clean Up the Ghetto (Official PhillySound)", "Loleatta Holloway - Love Sensation (Extended Mix)", "The Crystals - Da Doo Ron Ron (HQ)", "𝐓𝐡𝐞 𝐑𝐨𝐧𝐞𝐭𝐭𝐞𝐬 - 𝐁𝐞 𝐌𝐲 𝐁𝐚𝐛𝐲 - 𝐥𝐢𝐯𝐞 [𝐇𝐐] 𝐑.𝐈.𝐏. 𝐍𝐞𝐝𝐫𝐚 𝐓𝐚𝐥𝐥𝐞𝐲-𝐑𝐨𝐬𝐬 - 𝐉𝐚𝐧.𝟐𝟕,𝟏𝟗𝟒𝟔–†𝐀𝐩𝐫𝐢𝐥 𝟐𝟔, 𝟐𝟎𝟐𝟔⁣ ⁣⁣⁣" ], "playlistID": "PLb15rbk6I4pPzHu4vUOtcgkXdLj0XYCvQ", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPzHu4vUOtcgkXdLj0XYCvQ", "spotify-playlist-link": "https://open.spotify.com/playlist/6hMmzTaFP6u7qDnFrx1y02?si=YPK3BEbPSQi90V6wdwSLfQ", "name_zh": "费城灵魂 & 女子组合" }, "rnb06": { "name": "EARLY FUNK & P-FUNK
早期放克 & P放克", "year": "1968", "supergenre-first-tag": "R & B", "description": "
灵魂乐非常流行且旋律优美，但它并不真正大胆或适合跳舞。过了一段时间，艺术家开始从摇滚和爵士中寻找新元素。他们偏爱酸性摇滚（Acid Rock）的迷幻、叛逆本质，以及灵魂爵士（Soul Jazz）的深沉、动态部分，作为革命性融合——放克（Funk）——的首选风味。詹姆斯·布朗（James Brown），绰号演艺界最努力的人，率先引领了从灵魂乐到Funk Soul（放克灵魂乐）并最终到Funk的演变。\n\n但Funk的发展在四十年代新奥尔良的沼泽放克（Swamp Funk）中已可见端倪，受路易斯安那克里奥尔人（creole）影响。Funk强调每小节的第一拍，而节奏的其余部分不断变化，就像早期形式的碎拍（breakbeat）。这被称为The Rhythm of the One（一拍节奏，而非四拍或两拍）。所有乐器协同工作以增强这种感觉。打击乐被短小单调的连复段（riff）、拍弦贝斯（slapping bass）、铜管乐器以及合成器/钢琴上的重音所强化，创造出所谓的律动（the groove）：每首Funk歌曲背后的脉冲力量。一些乐队——以Parliament和Funkadelic为首——引入了更加太空感、不那么切分的声音，称为P-Funk。
Soul was very popular and melodic, but it wasn't really daring or danceable. After a while, artists started looking at Rock and Jazz for new elements. They preferred the psychedelic, rebellious nature of Acid Rock alongside the deep, dynamic part of Soul Jazz as flavours of choice for the revolutionary fusion that was Funk. James Brown, nicknamed “the hardest working man in show business”, spearheaded the evolution from Soul to what became known as Funk Soul and eventually Funk. But Funk's development was already tangible in the Swamp Funk of New Orleans from the forties, influenced by Louisiana creole.

Funk places strong emphasis on the first beat of each bar while the rest of the rhythm constantly changes, like an early form of breakbeat. This is known as “The Rhythm of the One” (the one beat, instead of four or two). All instruments work together to enhance this feeling. Percussion becomes accentuated by short, monotone riffs, slapping bass, brass instruments, and accents on synth/piano to create what is known as “the groove”: the pulsing force behind each Funk song. Some bands, starting with Parliament and Funkadelic, introduced a more spacey and less syncopated sound, known as P-Funk.

Yet Funk does not try to blend all instruments into a carefully assembled and produced whole (like Soul) but it maintains their individuality to create a more organic sound. Funk tries to sound like primal energy or biological essence. Another difference with Soul is that Funk revolves less around songs and albums: the music is one continuous melting pot, where live performance and technical expertise are valued over touching lyrics and record production. The Apollo Theatre, New York, was such a place where many Funk artists blew the audience away with their virtuoso and vigorous performances.
", "songlist": [ "James Brown ~ Papa's Got A Brand New Bag (1965)", "Parliament - P-Funk (Wants To Get Funked Up)", "Hyperbolicsyllabicsesquedalymistic by Isaac Hayes from Hot Buttered Soul", "Funkadelic - Funkadelic - 04 - I Got A Thing, You Got A Thing, Everybody's Got A Thing", "CHARLES WRIGHT EXPRESS YOURSELF", "Sly & The Family Stone - Underdog", "Soul Finger - Bar-Kays (1967)", "Curtis Mayfield - Superfly", "Maceo and the Macks - Soul Power '74 - HQ" ], "playlistID": "PLb15rbk6I4pNBG67kq2fnhXnS_-9Is5KB", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNBG67kq2fnhXnS_-9Is5KB", "spotify-playlist-link": "https://open.spotify.com/playlist/5B7RQ7o6qfGr2haTNwlgo3?si=Rj4KGijKTnCLM5Xi5MBoxw", "name_zh": "早期放克 & P放克" }, "rnb07": { "name": "DISCO
迪斯科", "year": "1972", "supergenre-first-tag": "R & B", "description": "
一些费城灵魂乐歌曲伴随着脉冲式、重复的鼓节奏，使它们成为纽约（及其他地方较少程度上）专属同性恋俱乐部中最好的舞池填充曲。凭借主导性的、加速的4/4拍、跟唱的diva合唱、朗朗上口的旋律（通常被宏大的弦乐所强化），以及比灵魂乐肤浅得多的歌词，制作人找到了一种如此完美的R&B流行元素商业组合，以至于迪斯科（Disco）冲破了其孤立的环境，以难以想象的方式征服了世界。\n\n作为纯粹的狂喜音乐，无忧无虑，迪斯科的一切就是关于享乐、性和在迪斯科舞厅跳舞：一种新型的夜生活场所，如纽约臭名昭著的Studio 54俱乐部。使这些场所和迪斯科具有开创性的是，首批连续舞曲音乐的到来：混音的起源。像许多革命性流派一样，迪斯科是协同性事件汇聚的产物。一方面，12英寸唱片用于单曲允许更深的凹槽，从而获得更好的音质和更重的节拍——这对后来的浩室（House）唱片必不可少。另一方面，1975年越战的结束标志着一个欢乐的时刻。代表艺人包括Donna Summer、Bee Gees、Gloria Gaynor、Chic以及Diana Ross。
Some Philly Soul songs were accompanied by a pulsing, repetitive drum rhythm, which made them the best dance floor fillers in the exclusive gay clubs of New York (and elsewhere in lesser extent). With a dominant, accelerated 4/4 beat, sing-a-long diva choruses, catchy melodies (often intensified by sweeping strings), and much more superficial lyrics than Soul, producers had found such a perfect commercial combination of popular R&B elements that Disco broke out of its isolated environment and conquered the world in an unimaginable way. As pure ecstasy music, with no worries, Disco was all about having fun, sex, and dancing in the disc-o-theques: a new type of nightlife place, such as the infamous club Studio 54 in New York. What made these places and Disco groundbreaking, was the arrival of the very first continuous dance music: the genesis of the mix.

Like many revolutionary genres, Disco was the outcome of a synergetic concurrence of events. On one hand, the use of 12” records for singles allowed deeper grooves, and therefore better sound quality and harder beats; a must for later House records. On the other hand, the end of the Vietnam War in 1975, marked a moment of joy despite the actual loss of the war by the US. Yet the people had every reason to celebrate. Their protest had won, not the whims of a war-mongering government they did not support. Disco celebration - the pressure release after a decade of counterculture and protest - was without limits. Colorful dresses, afro-wig haircuts, disco balls, glitter, glamour, loose-fitting legs: all typical Disco elements that became popular, especially during the more commercial period of Disco in the late seventies. Before this, Disco was a careful evolution of Funk (“Disco Roots”) in exclusive parties by professional producers/DJ’s such as Francis Grasso and David Mancuso, starting in 1972. A pivotal moment between these two types of Disco was the film release of “Saturday Night Fever” in 1977, after which not a living soul on earth did not know what Disco was.

As one of the biggest mainstream hypes in the history of music, it is no surprise that Disco declined almost as fast as it peaked and that it sparked a wave of revulsion (symbolized by the infamous “Disco Sucks” tag). Although not without leaving a legacy of various Post-Disco genres and eventually what became known as “Disco’s Revenge”: House music.
", "songlist": [ "Gloria Gaynor - I Will Survive", "Ain't Nobody", "Evelyn Champagne King - Shame (Best Version & HQ)", "Bee Gees - Stayin' Alive (Official Video)", "CHIC - Le Freak (Official Music Video)", "Rene & Angela - I'll Be Good", "The Trammps - Disco Inferno (Long Version)", "Patrick Hernandez - Born to Be Alive - Official Video (Clip Officiel)", "Village People - YMCA (OFFICIAL Music Video 1978)", "Wastin My Love" ], "playlistID": "PLb15rbk6I4pMmIaIGoEAM-osCqB4BZ_aR", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMmIaIGoEAM-osCqB4BZ_aR", "spotify-playlist-link": "https://open.spotify.com/playlist/4dYLVlMa9tJUUOfFRtwb9o?si=VDWt4n_4QdaLiW-Big2Zxw", "name_zh": "迪斯科" }, "rnb08": { "name": "GO-GO (& BOUNCE BEAT)
Go-Go 弹跳节拍", "year": "1976", "supergenre-first-tag": "R & B", "supergenre-second-tag": [ "slave", "(rap)" ], "description": "
Go-Go是地图上列出的最小流派之一。它可以被视为放克（Funk）的一个子流派，但非常独特。通过借用拉丁流派的康加鼓（conga）节奏，并总体上更加注重打击乐，Funk获得了一个似乎永不停歇的活跃速度：它让Funk跑起来了（go）。这种搏动的脉冲在Go-Go的人声中也能听到。Go-Go是相当直接的Funk，几乎没有实验或技术。它作为华盛顿夜生活中流行的、跳跃的融合流派而兴起，在那里它仍然是一个地理上孤立的现象。\n\n在老派说唱（Old Skool Rap）的发展过程中，Go-Go越来越受到嘻哈（Hip-Hop）的影响，这在其放克碎拍和快节奏歌词中清晰可闻。在21世纪，Go-Go的一个子流派或继承者——Bounce Beat——重新激活了华盛顿的夜生活。Bounce Beat是Go-Go的一种更硬、更粗糙、更现代的版本，受到EDM的影响，较少强调旋律。Bounce Beat团体是众多派对人群，创造了一种独特的节奏：无休止的敲击，但以一种躁动不安的方式进行。代表艺人包括Chuck Brown（Go-Go教父）、Rare Essence以及Trouble Funk。
Go-Go is one of the smallest genres listed on the map. It can be seen as a subgenre of Funk, but a very distinctive one. By borrowing conga rhythms from Latin genres and putting more focus on percussion in general, Funk received a thriving tempo that seemed to never stop being on the move: it made the Funk go. This beating pulse could also be heard in Go-Go’s vocals. Go-Go is pretty straightforward Funk with little experimentation or technology. It stirred up as a popular bouncing fusion genre in Washington’s nightlife, where it remained a geographically isolated phenomenon. During the development of Old Skool Rap, Go-Go became more and more influenced by Hip-Hop, which is clearly audible in its funky breakbeats and uptempo lyrics.

In the 21st century, a subgenre or successor of Go-Go, Bounce Beat, reinvigorates Washington’s nightlife. Bounce Beat is a harder, harsher, more modern version of Go-Go with influences from EDM and less emphasis on melody. Bounce Beat groups are numerous party crowds, creating a distinctive rhythm: a ceaseless pounding but in a restless manner.
", "songlist": [ "Chuck Brown and the Soul Searchers - Bustin' Loose", "Trouble Funk - Drop The Bomb (1982)", "Rare Essence - Work The Walls (Official Video)", "Experience Unlimited - Free Yourself (1976)", "Black Heat - The Jungle", "Junk Yard Band - Loose Booty", "TOB - Clappas", "Reaction - Internet Thang", "XIB - Whooh Lawwd" ], "playlistID": "PLb15rbk6I4pNRhGvUVTQAptmvXeMPCBWJ", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNRhGvUVTQAptmvXeMPCBWJ", "spotify-playlist-link": "https://open.spotify.com/playlist/1yAJ5s9ahdPGWQxXnJS9vy?si=MTftsMbqRVGwbEbnPnwLqw", "name_zh": "Go-Go 弹跳节拍" }, "rnb09": { "name": "DEEP FUNK / RARE GROOVE & NU FUNK
深沉放克 / 稀有律动 & 新放克", "year": "1980", "supergenre-first-tag": "R & B", "description": "
有人可能会说Funk就是Funk（这对于融合流派来说很难反驳），但知名的、面向表演的演唱性（早期）Funk与更重的、专注于录制的器乐Funk之间是有区别的——后者被称为深放克（Deep Funk）。虽然这一流派在七十年代早期就已存在，但迪斯科的流行在八十年代将一批艺术家推向了地下。贝斯变得更强，碎拍变得更加明显。焦点略微从快速鼓点和滚奏转移，更多放在较慢速度的律动上，推动音乐前进。制作非常原始和粗粝，如同南方灵魂乐（Southern Soul）。\n\n大量几乎不为人知的艺术家推出了他们自己最喜欢流派的更现代方法，几乎总是在黑胶唱片上（特别是45转单曲）。虽然这些唱片确实被压制，但发行量通常很少。这些难以找到的唱片（因此称为稀有律动 Rare Groove）被嘻哈（Hip-hop）、酸性爵士（Acid Jazz）和霹雳舞（Breakdance）DJ到处搜寻（至今仍然如此）。Rare Groove的特征（重节拍、器乐、专注于录制、相对不知名）使其成为采样的理想素材，并在说唱和碎拍艺术家中极受欢迎。九十年代起，新放克（Nu Funk）作为复兴出现。代表艺人包括The Meters、The J.B.'s以及Lee Fields。
Some may say that Funk is just Funk (which is hard to counter for fusion genres), but there is a difference between well known vocal (Early) Funk aimed at performing and the heavier, instrumental Funk focused on recording, known as Deep Funk. Although this genre already existed in the early seventies, the popularity of Disco pushed a number of artists underground during the eighties. Bass got stronger and breaks became more pronounced. The focus laid slightly less on fast drums and rolls but more on a slower tempo groove, pushing the music forward. Production was very raw and gritty like Southern Soul. Lots and lots of barely known artists brought out their own, more modern approach of their favorite genre, almost always on vinyl (particularly 45rpm singles). Although these records did get pressed, the number of editions was usually meager. These hard-to-find records (hence Rare Groove) were being hunted by Hip-hop, Acid Jazz, and Breakdance DJ’s everywhere (and still are). Rare Groove’s characteristics (heavy beats, instrumental, recording-focused, relatively unknown) make the genre ideal for sampling and extremely popular with Rap and Breakbeats artists.

Starting in the nineties, a new wave of international artists created their own version of Deep Funk, dubbed “Nu-Funk”. Nu Funk uses often Latin or exotic influences and more electronic means to create the music, but otherwise it is very similar to classic Deep Funk.
", "songlist": [ "Incredible Bongo Band – Apache", "Fred Wesley & The J.B.'s - Blow Your Head", "THE MOHAWKS - The Champ", "Rhythm Heritage - Theme from SWAT", "Marsha Hunt - Oh, no! Not the Beast Day!", "Sir Joe Quarterman- (I Got) So Much Trouble In My Mind(1973)", "Delta Rhythm Section - The Getaway.wmv", "10 The New Mastersounds - Coffee Providers (feat. The Haggis Horns) [ONE NOTE RECORDS]", "Kraak & Smaak - Squeeze Me (feat. Ben Westbeech) (Official Video)", "The Bamboos - Happy", "Fort Knox Five - Blowing Up The Barrio" ], "playlistID": "PLb15rbk6I4pM_7J9702S-3Zta4qR_6Rnb", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM_7J9702S-3Zta4qR_6Rnb", "spotify-playlist-link": "https://open.spotify.com/playlist/3nRstbVbKsvvOA3xUctrVW?si=o4w1NYP5TSmggptqyWYWEw", "name_zh": "深沉放克 / 稀有律动 & 新放克" }, "rnb10": { "name": "BOOGIE / ELECTROFUNK
布吉 / 电子放克", "year": "1984", "supergenre-first-tag": "R & B", "description": "
放克（Funk）对电子乐（Electro）的影响反弹回了Funk，锻造出电子放克（Electronic Funk），使Funk在八十年代保持活力。这个流派有许多不同的子形式，但为了避免进一步细分，建议将所有这些名称视为同一事物：合成放克（Synth Funk）、舞曲放克（Dance-Funk）、联合放克（United Funk）、赤裸放克（Naked Funk）、电子放克（Electrofunk）和（电子）布吉（Boogie）。有时Funktronica也被用作Boogie的别名，但实际上这是一个不同的流派。然而必须指出，布吉在迪斯科之前就已存在，但那时还处于非常初期的阶段，不被视为一个独立的流派。\n\n（电子）布吉与Rare Groove恰恰相反：数字化、精致打磨，很少是纯器乐。不是无面孔的DJ在敲打完美的深律动，而是穿着闪亮服装的多彩乐队全力以赴，让人群整夜摇摆。在电子放克中，所有铜管和爵士乐器都被合成器（和电吉他）取代，通过大量使用声码器（vocoder）人声来强化，这赋予了音乐一种机器人般的声音，同时不失去摇摆的律动。布吉是华丽摇滚的表演、迪斯科的狂喜和Funk的性感的综合体。代表艺人包括Zapp & Roger、Kool & the Gang（后期）以及Midnight Star。
The Influence from Funk on Electro bounced back to Funk, forging electronic Funk and keeping da Funk in the eighties alive. This genre has many different subforms but to prevent further pigeonholing, it is advisable to regard all these names as one and the same: Synth Funk, Dance-Funk, United Funk, Naked Funk, Electrofunk and (Electro) Boogie. Sometimes Funktronica is used as an alias of Boogie as well, but this is actually a different genre. It must be noted however, that Boogie already existed before Disco, but was still in its very infancy then and not regarded as a separate genre. (Electro) Boogie is quite the opposite of Rare Groove: digital, polished, and rarely instrumental. Instead of faceless DJ’s hammering on the perfect deep groove, colorful bands in glittering costumes gave it all they got to keep the crowd boogie all night long. In Electrofunk, all brass and Jazzy instruments are replaced by synthesizer (and electric guitar), and intensified by heavy use of vocoder vocals, which give the music a robotic sound, without losing the swinging groove; tha boogie. Boogie is the performance of Glam Rock, the ecstasy of Disco, and the sexiness of Funk all-in-one. Something that only the eighties would regard as not over-the-top.
", "songlist": [ "Zapp & Roger - More Bounce To The Ounce", "Prince - Controversy (Official Music Video)", "Kool & The Gang - Fresh", "Cameo - Word Up (Relaid Audio) (Official Music Video)", "Rick James - Super Freak", "The Gap Band - You Dropped A Bomb On Me (Official Music Video)", "Morris Day and The Time - Jungle Love (HQ)", "Midnight Star - ＂Operator＂ (Official Video)", "Earth, Wind & Fire - Boogie Wonderland (Official Video)", "KC & The Sunshine Band - Get Down Tonight (HQ with lyrics)", "Imagination - Just an illusion (HD)", "D Train - You're the One for Me" ], "playlistID": "PLb15rbk6I4pPwukNbSdsoZXrkx7s1lLXV", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPwukNbSdsoZXrkx7s1lLXV", "spotify-playlist-link": "https://open.spotify.com/playlist/1UaW9gXplON5g5o92J9j4H?si=Iwv9TzhmSSOdUFXvCJDf5A", "name_zh": "布吉 / 电子放克" }, "rnb11": { "name": "NEW JACK SWING / SWINGBEAT
新杰克摇摆 / 摇摆节拍", "year": "1987", "supergenre-first-tag": "R & B", "supergenre-second-tag": [ "slave", "(rap)" ], "description": "
不要搞错，这个流派与摇摆爵士（Swing）毫无关系。相反，新杰克摇摆（New Jack Swing, NJS）是费城之音（Philadelphia Sound）的更新延续：费城灵魂乐（Philly Soul）的身体穿着一件全新的说唱（Rap）外套。强劲的放克碎拍（funky breakbeats）不再构成抗议信息或黑帮歌词的节奏，而是为流畅、和声化的人声谈论爱情和浪漫提供节奏。尽管许多（男性）新杰克摇摆艺术家看起来像年轻、天真的风流公子，他们通常有隐藏的黑帮习惯，预示着东海岸匪帮说唱（East Coast Gangsta Rap）时代的来临。\n\nSwingbeat（NJS的同义词）听起来正如其名：极其朗朗上口和放克，强烈强调节拍。电视剧《新鲜王子妙事多》（The Fresh Prince of Bel-Air）——由威尔·史密斯（Will Smith）主演——将新杰克摇摆带给了更广泛的观众，其中展示了一些歌曲以及那种独特的八十年代末新杰克摇摆时尚：宽松的嘻哈服装搭配闪亮色彩、圆形太阳镜、女性辫子头或男性高顶发型。但使这一流派具有特殊重要性的是节奏蓝调（Rhythm 'n Blues）与说唱联姻为都市音乐（Urban）——一种自此从未分崩离析的强大结合。代表艺人包括Bobby Brown、Bell Biv DeVoe、Keith Sweat以及Guy。
Make no mistake, this genre has nothing to do with Swing. On the contrary, New Jack Swing (NJS) is the updated continuation of the Philadelphia Sound: the body of Philly Soul in a brand new jacket of Rap. Strong, funky breakbeats no longer form the rhythm for messages of protest or gangster lyrics, but for smooth, harmonic vocals talking about love and romance. Although many (male) New Jack Swing artists seemed like young, innocent casanovas, they often had hidden gangster habits, preluding an era of East Coast Gangsta Rap. Swingbeat (a synonym for NJS) is exactly the way it sounds: extremely catchy and funky with strong emphasis on beat.

The TV-series “The Fresh Prince of Bel-Air” starring Will Smith knew how to bring New Jack Swing to a larger audience, featuring some of its songs alongside that particular late eighties New Jack Swing fashion: loose Hip-Hop wear with flashy colors, round sunglasses, female dreads or male hightop haircuts. But what makes this genre of particular gravity is the marriage of Rhythm ‘n Blues and Rap into Urban, a strong bond that has never fallen apart since.

New Jack Swing evolves into Urban Soul, but sometimes overlaps with it as well. New Jack Swing was already known as Contemporary Soul or Urban Soul before the rise of the latter, after all.
", "songlist": [ "Wreckx-N-Effect - New Jack Swing", "Bobby Brown - My Prerogative", "Boyz II Men - Motownphilly", "ABSTRAC' 1989 RIGHT & HYPE", "En Vogue - My Lovin' (Never Gonna Get It) (1992)", "Guy - Groove Me", "today - him or me", "Heavy D & The Boyz - Now That We Found Love (Official Music Video) ft. Aaron Hall", "SWV - Anything (Official Video)", "Bell Biv DeVoe - Poison (Official Music Video)", "Soul II Soul - Back To Life (However Do You Want Me) (Official Music Video) ft. Caron Wheeler" ], "playlistID": "PLb15rbk6I4pOkBswqMphwRFm_OWdxFJq-", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOkBswqMphwRFm_OWdxFJq-", "spotify-playlist-link": "https://open.spotify.com/playlist/2mkTUz7i0MYA0voSKHwxtI?si=7hJQkza4TpaN2OueCMhL5w", "name_zh": "新杰克摇摆 / 摇摆节拍" }, "rnb12": { "name": "NEO SOUL / NU SOUL
新灵魂乐", "year": "1996", "supergenre-first-tag": "R & B", "description": "
在九十年代，节奏蓝调（Rhythm 'n' Blues）开始跨界到许多其他流行流派，结合了一种趋向肤浅和流行内容的歌词倾向。缓慢地，R&B这一术语成为大型唱片公司确保利润的工具，Swingbeat是第一步。独立艺术家以回归纯粹、未被玷污的灵魂乐（Soul）作为回应。特别是女性艺术家加入了这一事业，作为对新R&B的性别歧视或肤浅取向的回应。\n\n与老式灵魂乐风格相比，这种新灵魂乐（Nu Soul）被剥离并简化：只有一个歌手而非人声和声，没有太多乐器。通常有爵士说唱（Jazz Rap）或前卫说唱（Progressive Rap）的影响，与之共享表达自豪和可敬的黑人意识的愿望。尽管新灵魂乐倾向于非商业立场，但制作高度打磨，其diva巨星在鼎盛时期肯定少有财务之忧。虽然新灵魂乐如今已消退，回归六十年代灵魂乐在零零年代征服了越来越多的广播空间。这一所谓Vintage Soul Revival几乎算不上一个新流派，但它很好地说明了灵魂乐如何具有永恒和普遍的特质。代表艺人包括Erykah Badu、D'Angelo、Lauryn Hill、Jill Scott以及Maxwell。
During the nineties, Rhythm ‘n’ Blues started to cross over to many other popular genres, combined with a lyrical tendency towards shallow and popular content. Slowly the term R&B becomes a vassal for major record labels to ensure their profits, with Swingbeat as the first, careful step. Independent artists responded with a return to pure, untainted Soul. Especially female ones joined the cause, as a reaction to new R&B’s sexist or superficial approach. Compared to older styles of Soul, this “Nu Soul” was stripped down and simple: only one singer instead of vocal harmonies, and not too many instruments. Often there are influences from Jazz Rap or Progressive Rap, with whom it shares the desire to express proud and honorable black awareness. Although Neo-Soul is inclined to a non-commercial stand, production is highly polished and its diva stars surely had little financial worries during the heydays.

While Neo Soul has faded nowadays, a return to Soul of the sixties conquers more and more radio airspace in the nillies. This so called “Vintage Soul Revival” is barely a new genre, but it illustrates well how Soul has timeless and universal qualities. Very recently, new artists have blended Soul with Reggae, Rap, or Electro(-House) music into the catch-all genre “Future Soul”. It is still too early to define this genre, let alone assess its role in music history.
", "songlist": [ "Lauryn Hill - Doo Wop (That Thing) (Official HD Video)", "Erykah Badu - Didn't Cha Know", "Sade - No Ordinary Love - Official - 1992", "Macy Gray - I Try (Official Video)", "D'Angelo - Brown Sugar", "Angie Stone - Wish I Didn't Miss You", "Who Did That To You？ (John Legend)", "Duffy - Rain On Your Parade (WIth Mastered Audio)", "Amy Winehouse - Back To Black" ], "playlistID": "PLb15rbk6I4pOJcVI-ciUcYOBtfdD7NyCs", "playlist-link": "https://www.youtube.com/playlist?list=Lb15rbk6I4pOJcVI-ciUcYOBtfdD7NyCs", "spotify-playlist-link": "https://open.spotify.com/playlist/4yetiM94MRdMRNvvMkbEJP?si=Hx-GxtQlRo6nTwrL526xJg", "name_zh": "新灵魂乐" }, "rnb13": { "name": "URBAN SOUL / URBAN POP (NU R & B I)
都市灵魂 / 都市流行 / 新R&B", "year": "1998", "supergenre-first-tag": "R & B", "description": "
都市灵魂乐（Urban Soul/R&B）或新R&B如此无处不在，以至于它常常被等同于R&B这个通用术语，忽视了五个十年的音乐演变。从新杰克摇摆（New Jack Swing）这一流行的说唱/R&B混合体中，一个全新的混合体逐渐展开，在1998年爆发：真正的都市灵魂乐或第一波新R&B（Nu R&B）。女性——主要是黑人——艺术家将新杰克摇摆的快节奏嘻哈（Hip-Hop）声音转变为更慢的、注入灵魂乐的抒情曲（但仍然比普通灵魂乐快得多）。\n\n凭借她们糖衣般的声音——通常以和声或轻微自动调音（autotuned）处理——她们为歌曲笼罩上一层感伤情绪。这种感伤被轻蔑地打上肤浅和资本主义的烙印：纯粹的流行音乐，几乎没有R&B。歌词内容几乎无法打破这一偏见。俗气的、永恒的爱情主题似乎是基本前提。但都市灵魂乐仍然比其继承者都市碎拍（Urban Breaks）更为R&B得多。弦乐编排、深情的唱腔、缺乏性滥交以及与早期迪斯科/舞曲流行的联系，都是第一波新R&B真正R&B/灵魂乐元素的体现——这些元素最终会被抛弃。代表艺人包括Aaliyah、Destiny's Child、TLC、Brandy以及Monica。
Urban Soul/R&B or the “new” R&B is so omnipresent that it’s often identified with the general term R&B, ignoring five decades of musical evolution. Out of the popular Rap/R&B hybrid of New Jack Swing, a new hybrid gradually unfolds, bursting to life in 1998: real Urban Soul or the first wave of Nu R&B. Female, predominantly black artists changed New Jack Swing’s uptempo Hip-Hop sound to a slower, Soul infused ballad (but still much faster than regular Soul). With their sugar-coated voices – often in harmony or slightly autotuned – they swooped a sense of sentimentality over their songs. A sense discredited with shallowness and capitalism: pure Pop music and little R&B. The lyrical content could hardly dismantle this prejudice. Corny, timeless love themes seem to be the basic premise. But Urban Soul is still a lot more R&B than its successor, Urban Breaks. String arrangements, soulful vocals, an absence of sexual promiscuity, and a connection with earlier Disco-/Dance-Pop are all real R&B/Soul elements of Nu R&B’s first wave that would eventually get discarded.

Although the genre might be considered formulaic Pop music and be partly despised for it, this simply proves that it succeeds in finding that perfect formula with Rap, Pop, and R&B ingredients which gets savored by the most.
", "songlist": [ "Brandy & Monica - The Boy Is Mine (Official Video)", "All Saints - Never Ever (US Version) (Official Music Video)", "Mariah Carey - Honey (Official 4K Video)", "Toni Braxton - Un-Break My Heart (Official HD Video)", "Destiny's Child - Say My Name (Official Video)", "Aaliyah -Try Again (Original Video)", "Always On Time", "Anita Baker - I Apologize (Official Music Video)", "TLC - No Scrubs (Official HD Video)" ], "playlistID": "PLb15rbk6I4pOsVJ6FA6pkckfUKcyQqKd1", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOsVJ6FA6pkckfUKcyQqKd1", "spotify-playlist-link": "https://open.spotify.com/playlist/1GCVLHZjqioiWWE0UaP4IB?si=35oEH38kTYmyBlR63ZDW3A", "name_zh": "都市灵魂 / 都市流行 / 新R&B" }, "rnb14": { "name": "NU DISCO & FUNKTRONICA
新迪斯科 & 放克电子", "year": "2007", "supergenre-first-tag": "R & B", "supergenre-second-tag": [ "master", "HOUSE" ], "description": "
新迪斯科（Nu-Disco）特别关注七十年代末的（后）迪斯科（Post-Disco）和八十年代初的欧陆迪斯科（Eurodisco）。这是半脱离灵魂乐（Soul）的迪斯科，同时具有更强的节拍，使其更易于现代公众接受。正如电撞（Electroclash）将合成器流行（Synthpop）带回给EDM疲倦的观众一样，新迪斯科也以类似的成功重新引入了（欧陆）迪斯科。新迪斯科通过使用最新的设备和技术重新创造这些旧流派。这使得极度锋利的制作和水晶般清晰的声音成为可能（尤其是电子和布吉声音）。\n\n除了这种更新的声音之外，与原始时代的差异极小。这一观点被edits的使用进一步强调：即不经过任何改动的老歌重新发行。Funktronica在大约同一时间出现，可以或多或少被解释为布吉复兴（Boogie Revival）；合成放克（Synth Funk）在21世纪的回归。因为Funktronica也受到意大利迪斯科（Italo-Disco）的影响，它与新迪斯科有大量相似之处。两种流派标志着正好位于欧陆迪斯科、芝加哥浩室（Chicago House）和电子放克（Electro Funk）中心的一个神奇交汇点。代表艺人包括Daft Punk（Discovery时期）、Breakbot、Chromeo以及Jamiroquai（后期）。
Nu-Disco focuses specifically on (Post-)Disco of the late seventies and Eurodisco of the early eighties. This is Disco semi-detached from Soul, while harboring a stronger beat, which makes it more accessible for the modern public. Just like Electroclash brought back Synthpop to an EDM-fatigued audience, so reinstalls Nu-Disco (Euro-)Disco with similar success. Nu-Disco recreates these “old” genres by using the latest equipment and technologies. This allows razor-sharp productions and crystal clear sounds (especially Electro and Boogie sounds). Apart from this updated sound though, the difference with the original era is minimal. A point that is further being stressed by the use of “edits”: rereleases of old songs without any alterations.

Funktronica emerges around the same time, and might be more or less interpreted as a Boogie Revival; a return of Synth Funk in the 21st century. Because Funktronica is influenced by Italo-Disco too, it shares much resemblance with Nu-Disco. Both genres signify a magical junction right in the center between Eurodisco, Chicago House and Electro Funk. After a long era of “cold” and “heartless” Electro-House, Nu-Disco and Funktronica become welcomed with open hands. From the moment the genre appeared on the website Beatport, along with its unknown DJ exponents, popularity kept increasing drastically: a possible omen that R&B’s Golden Age could return with a vengeance.
", "songlist": [ "The Shapeshifters - Lola's Theme (OFFICIAL VIDEO)", "Scissor Sisters - I Don't Feel Like Dancin'", "Justice - D.A.N.C.E. (Official Video)", "Dimitri From Paris - Not Quite Disco", "Lindstrøm - Closing Shot", "Eric Prydz - Call On Me", "VITALIC - Poison Lips (Official)", "Michael Gray - The Weekend (Official Video)", "Chromeo - Come Alive (feat. Toro y Moi) [Official Video]", "Big Gigantic- Sky High", "This Moment- French Horn Rebellion" ], "playlistID": "PLb15rbk6I4pO2UsnwVYv9clW3kmmdK-nn", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO2UsnwVYv9clW3kmmdK-nn", "spotify-playlist-link": "https://open.spotify.com/playlist/10BzUbEw624LasSP95cUnm?si=_H0SgiRkTDC8djBI0-0z5A", "name_zh": "新迪斯科 & 放克电子" }, "gos01": { "name": "(NEGRO) SPIRITUALS & WORKSONGS
黑人灵歌 & 劳动号子", "year": "1870", "supergenre-first-tag": "GOSPEL", "description": "
流行音乐一个有趣的事实是，它的诞生更多出于生存需要，而非出于艺术或自我表达。最早的流派可以追溯到 19 世纪，当时美国仍普遍存在对非洲人的奴役制度。这些第一代非裔美国人常常在艰苦劳作时唱歌，受到非洲大陆本土节奏的启发。除了减轻一些痛苦之外，他们的劳动号子还是传递隐秘信息的一种巧妙交流工具。伪装成有节奏的无伴奏合唱音乐，劳动号子让奴隶们得以绕开监工的管控。劳动号子（亦称\"hollers\"）以卡农式的重复哼唱为特征，已经运用了\"蓝调音符\"（blue notes）。最早流行音乐流派的主要影响来源包括非洲根源音乐、黑人民谣叙事曲和水罐乐队（Jug bands）。\n\n将非洲音乐遗产投入\"实用\"的另一晚期例子，是黑人灵歌（Negro-Spirituals）——在任何所剩不多的私人时间里，以歌唱祈祷的形式提供一丝微弱的希望。灵歌是更长的歌曲，歌词高亢、尖锐且带有鼻音。最终，这些灵歌与教堂赞美诗融合，成为福音音乐（Gospel）。劳动号子和灵歌都不是为娱乐而创作的——它们是为了忍受苦难而唱。然而，在这一实用功能中，所有后来的美国流行音乐的种子已经播下。
An interesting fact about Popular Music is that it emerged out of necessity rather than being a form of art or expression. The earliest genres can be traced back as early as the 19th century, at a time when slavery of African people was still omnipresent in the United States. These first generations of Afro-Americans would often sing songs during their hard labor, inspired by the native rhythms of their home continent. Besides relieving a bit of the suffering, their worksongs also acted as a clever communication tool for hidden messages. Disguised as rhythmical a cappella music, worksongs allowed slaves to bypass overseer control. Worksongs aka “hollers” are characterized by repetitive humming in canon, and already make use of “blue notes”. The main influences of the very first popular music genre are African roots music, black Folk ballads and Jug bands.

Another, later example of putting the African musical heritage to “practical” use, are the Negro-Spirituals: sung prayers to offer a flicker of hope during whatever spare private time remained. Spirituals are much longer songs, with loud, sharp and nasal lyrics. Eventually these Spirituals blended with church hymns and became Gospel. Racist minstrel shows for white people got notice of this “Negro” music and started performing parodies. Ironically, these discriminating farces helped spread unknown black music culture throughout the land and thereby shaped Blues and Jazz.
", "songlist": [ "Ed Young - Jim And John", "The Arkansas Traveler", "Ed Lewis & Prisoners - I'll Be So Glad When The Sun Goes Down", "Didn't Leave Nobody But The Baby", "American Folk Music (Southern)： Yon' Come Dat Ole Devil Sargent", "Ervin Webb & Group - I'm Goin' Home", "The Caravans feat. Albertina walker- ＂Steal Away＂", "Lightning- Long John (Old song by a chain gang)", "So Glad I'm Here" ], "playlistID": "PLb15rbk6I4pP7P5iefl3OYeyLnQWTaor1", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP7P5iefl3OYeyLnQWTaor1", "spotify-playlist-link": "https://open.spotify.com/playlist/62dcw7zI9XWlirs6VvKy50?si=AO_atJnOQZuk9jV5vVTBSQ", "name_zh": "黑人灵歌 & 劳动号子" }, "gos02": { "name": "TRADITIONAL GOSPEL
传统福音", "year": "1880", "supergenre-first-tag": "GOSPEL", "description": "
1880 年至 1930 年间，福音音乐从微弱、闪烁的灵歌慢慢演变为明亮、流行的火焰，被许多美国人所传唱和知晓——无论是黑人还是白人，但根本上都是基督徒。福音音乐起初是充满情感的教堂赞美诗，采用应答轮唱（call and response）的合唱形式。这意味着合唱团的一部分唱一个段落，另一部分以不同的调（和声）回应。这种具有不寻常音程的和弦交替互动，后来成为许多流行音乐中的重要标志。\n\n声音洪亮的独唱者变得至关重要，他们为这个流派注入了个性。福音音乐很快就有了分裂——传统福音与现代福音——关于过度情感主义与商业化的争论直到今天仍在持续。福音音乐与其说是被定义的，不如说是被感受的——它是一种将音乐视为纯粹的、不加过滤的奉献的体验。福音的节奏力量永远不应被低估：拍手、跺脚和呼喊创造出一种狂喜的强度，其他流派从未真正复制过。
Between 1880 and 1930, Gospel slowly evolved from small, flickering Spirituals to a bright, popular flame, sung and known by many American people, both black and white, but all fundamentally Christian. Gospel started as emotional church hymns, with a call and response choir. This means that one part of the choir sings a part and the other responds in a different key (harmonizing). This alternating play of chords with unusual intervals would become an important trademark in a lot of popular music. Early or Traditional Gospel (sometimes known as Jubilee) is mostly music performed by barbershop quartets. But after Ragtime, it received accompaniment by a piano. Because there were almost no instruments, the lyrics were obviously important, talking about nothing but good news, hope, and bliss. At the turn of the century, the first Gospel composition was created. By 1920 the term “Gospel songs” was first used, and they were practiced in rural, southern America by both black and white people (albeit in slightly different forms). The black form of this “Southern Gospel” evolved by 1930 into what is known as “Black Gospel”. By this time Gospel was a well established music genre, with real artists instead of enthusiasts.
", "songlist": [ "Mahalia Jackson - Lord Don't Move The Mountain", "Thomas Dorsey-Take My Hand, Precious Lord", "Swing Low Sweet Chariot - Fisk Jubilee Singers (1909)", "The Sallie Martin Singers： Hold's To God's Unchanging Hands", "Willie Mae Ford Smith - I'm Bound for Canaan Land", "The Stamps Quartet FARTHER ALONG", "Blackwood Brothers Quartet 1951 - SWING DOWN CHARIOT.wmv", "Rev. C.L. Franklin-I'll Go (Pts. 1&2)" ], "playlistID": "PLb15rbk6I4pPTlF5OdQVFUcIqKwRmc19t", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPTlF5OdQVFUcIqKwRmc19t", "spotify-playlist-link": "https://open.spotify.com/playlist/4QPV9qrAUE5mOyqv7Rjixj?si=JzW50oRvTKee1RUExmLU2g", "name_zh": "传统福音" }, "gos03": { "name": "RAGTIME & STRIDE
拉格泰姆 & 跨步钢琴", "year": "1890", "supergenre-first-tag": "GOSPEL", "description": "
拉格泰姆（Ragtime）和跨步钢琴（Stride）很可能是有史以来最早的纯粹美国黑人音乐。拉格泰姆出现于 1890 年代——一种以\"不协调的\"（ragged）切分节奏为特征的欢快钢琴风格。Scott Joplin——无可争议的拉格泰姆之王——写下的作品仍然定义了美国音乐的早期特质。拉格泰姆不是为跳舞而作，而是为倾听——一种用心感受的精密音乐。\n\n跨步钢琴在 1920 年代随着哈莱姆文艺复兴（Harlem Renaissance）出现，在拉格泰姆的切分基础上增加了左手跨越键盘的大幅度跳跃。像 Fats Waller 和 James P. Johnson 这样的钢琴家将跨步钢琴发展成一种技艺惊人的风格。这两种钢琴传统都深刻影响了爵士乐、蓝调，乃至后来的摇滚乐——流行音乐的节奏骨架正是诞生于这些琴键之上。
Ragtime is a peculiar genre unlike anything else listed on the Carta and an important pioneer of Blues and (especially) Jazz, forming a sort of link between popular and earlier non-popular music. At the end of the nineteenth century we see this music, inspired by European brass bands, French contredanse and banjo dance music, emerging in any saloon, bar, or bordello in the United States that harbored a piano. Ironically Ragtime is the complete opposite of the stereotypical far-west or southern US brothel image: disciplined, structured and calm. Only one person and a piano form this genre. The song structure varies a lot, but is completely written out with no room for improvisation. One hand plays the melody, while the other plays the (also changing) bassline, which creates a certain tension between melody and bass. The name is derived from the earliest examples of these “broken” rhythmic songs, known as “rags”. Remarkably, a revival of Ragtime appeared almost a century later in the seventies.

In the early twenties Ragtime evolves into Stride which allows for more improvisation and showmanship. Ragtime and Stride own a lot of their popularity to Foxtrot: a popular dance that emerged in the 1910s.
", "songlist": [ "The Entertainer", "Tom Turpin ： St Louis Rag, 1903 Ragtime Piano Legend", "The Charleston Rag - Eubie Blake", "Frog Legs Rag - James Scott (1906)", "Joseph Lamb - Bohemia Rag (1919) [HQ]", "Willie The Lion Smith - Fingerbuster", "CAROLINA SHOUT - James P. Johnson", "The Ragtime Goblin Man (Remastered)" ], "playlistID": "PLb15rbk6I4pPuOj7MudtQxe2XYWX52N8U", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPuOj7MudtQxe2XYWX52N8U", "spotify-playlist-link": "https://open.spotify.com/playlist/5eWpIiZFTGLeXkvHJaNwad?si=IHhmYGFRSPi-irnWiDq4qA", "name_zh": "拉格泰姆 & 跨步钢琴" }, "gos04": { "name": "MODERN GOSPEL
现代福音", "year": "1947", "supergenre-first-tag": "GOSPEL", "description": "
随着福音音乐的成熟，它不可避免地分裂为传统主义和现代主义。现代福音在 1930 年代出现，采用更多当代音乐元素——蓝调、爵士，后来甚至包括 R&B 和摇滚——同时保留基督教的信息。现代福音拥抱了完整的乐队编制：鼓、贝斯、电吉他和键盘，与管风琴和唱诗班并列。\n\n现代福音是一种有意识的努力，旨在将福音音乐带入现代世界并接触更广泛的受众。它的艺术家中既有坚守传统信念的，也有推动音乐边界的。像 Andrae Crouch 和 The Winans 这样的艺术家架起了教堂与广播之间的桥梁。现代福音一直是蓝调和摇滚之间一条虽小但至关重要的纽带——证明信仰与当代声音并非不相容。
After World War II, Gospel changes dramatically, which is why it’s being marked as a different genre, though in many music genealogies, this is not the case. Record labels, radio stations, and promoters get interested in the music, as religiously themed music is commercially a more than viable path. This Modern or Progressive Gospel differs from Traditional Gospel in a clear and present influence from Blues and especially early Rhythm ‘n’ Blues. Although instrumentation is scarce (often a single piano or guitar or both), a strong beat surfaces through full chords or hand claps. Sometimes a floor mounted pedal steel guitar is being used, giving name to the subgenre “Sacred Steel”. But Modern Gospel is not about the instruments, but about the voice and message of God. Sung by Barbershop quartets or strong diva mezzo-sopranos, the number of dominantly black Gospel artists (especially women) rose exponentially in the fifties and large Gospel concerts start to take hold. This gives a nationwide sense of black awareness: Modern Gospel becomes the herald of Soul music; a feat beyond comparison. Nevertheless, the influence of “the Devil’s music” Blues starts to outrage certain Gospel fans. The rising fondness for money and fame from artists who started out with nothing accept their faith, accumulates to a growing aversion for what is pejoratively called secular Gospel.
", "songlist": [ "Nearer My God To Thee - Sam Cooke and the Soul Stirrers", "God Will Take Care Of You", "There's No Failure In God", "Marie Knight - Come on Baby ( Hold my hand )", "Sister Rosetta Tharpe - Down By the Riverside", "The Pilgrim Travelers Jesus Met The Woman At The Well", "The Original Gospel Harmonettes： He's Calling Me ⧸ Specialty 1955" ], "playlistID": "PLb15rbk6I4pNUC2EL6bbrZ-7cXeUpyOUC", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNUC2EL6bbrZ-7cXeUpyOUC", "spotify-playlist-link": "https://open.spotify.com/playlist/1z2q5VLEcJkBbdwKz5gLSm?si=YhibpMwLT2msjTrFkqxUuw", "name_zh": "现代福音" }, "gos05": { "name": "RELIPOP & RELIROCK / CCM (CONTEMPORARY CHRISTIAN MUSIC)
宗教流行/摇滚 / 当代基督教音乐", "year": "1968", "supergenre-first-tag": "GOSPEL", "supergenre-second-tag": [ "slave", "(pop)" ], "description": "
当代基督教音乐（Contemporary Christian Music，简称 CCM）代表了福音音乐的完全商业化——基督教的音乐产业。CCM 出现于 1960 年代和 1970 年代，作为一种使基督教信息与现代流行音乐风格相关的手段。本质上，CCM 可以理解为包装在当代制作中的宗教音乐，涵盖从流行到摇滚再到说唱的风格。\n\n有时被称为\"宗教流行\"（Relipop）或\"宗教摇滚\"（Relirock），CCM 拥有自己的排行榜、电台和音乐节。这场运动一直存在争议——一些传统福音圈认为它为了市场吸引力而淡化了宗教信息。然而，CCM 的规模巨大，在主流宗教圈之外创造了一个平行的音乐宇宙。像 Amy Grant、dc Talk 和 TobyMac 这样的艺术家取得了跨界成功，证明信仰主题的音乐可以在商业上生存。
From the sixties onwards, Gospel took a more modern approach, incorporating elements from Pop and Rock (Jesus Rock & Relipop). Especially the free spirit of Acid Rock, Folk Rock, and Rock ‘n’ Roll proved to be a good match with the optimism of religious Gospel. These early crossovers became known as the umbrella term Contemporary Christian Music (CCM).

When Disco, Rap and Metal became popular, Gospel took a surprising interest in these genres too (Gospco (Disco + Gospel), Gospel Rap, Heaven’s & White Metal), trying to reach as many people as possible with the message of God. CCM became a wide and diverse collection of uplifting musical styles, too diverse to define. Indeed, genre was subordinate to the content. Therefore these various subgenres are not bound by a technical common ground, and rarely listed in music genealogies.
", "songlist": [ "Larry Norman - Only Visiting This Planet - Why Don't You Look Into Jesus", "Rev. James Cleveland-God Has Smiled On Me", "One True God - Steven Curtis Chapman Lyrics", "Brother Willie Eason - I Want To Live (So God Can Use Me)", "Amy Grant - Better Than A Hallelujah (Official Music Video)", "HB - The Jesus Metal Explosion - Official", "Mali Music - Heavy Love (Official Video)", "Lauren Daigle - Trust in You", "Stand In Awe - Hillsong Live (2012 DVD Album Cornerstone) Lyrics (Best Worship Song)" ], "playlistID": "PLb15rbk6I4pMEQFoNvLqTSUV9imss9YEg", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMEQFoNvLqTSUV9imss9YEg", "spotify-playlist-link": "https://open.spotify.com/playlist/3Wx8wDKeEOUjl1q1LYcKOS?si=e9a4URukTcq79poFrr9rUA", "name_zh": "宗教流行/摇滚 / 当代基督教音乐" }, "blu01": { "name": "FOLK BLUES / COUNTRY BLUES (& DELTA BLUES)
民谣蓝调 / 乡村蓝调 / 三角洲蓝调", "year": "1910", "supergenre-first-tag": "BLUES", "description": "
乡村蓝调即是乡村的蓝调——远离城市的蓝调，在一个几乎不存在所谓\"流行音乐\"的时代，蓝调几乎完全属于非裔美国人。蓝调诞生于密西西比三角洲——在美国南方腹地酷热的田野和压迫的环境下。乡村蓝调/民谣蓝调是最早的形式：一个人、一把吉他，歌唱着苦难、爱情与生存。\n\n三角洲蓝调（Delta Blues）——最有名的分支——以 Robert Johnson、Charley Patton 和 Son House 等人为代表。三角洲蓝调以滑音吉他（slide guitar）、开放式调弦和一种萦绕且常令人着迷的重复性为特征。这些早期蓝调音乐人大多是游走的独奏者——独自一人，只有一把吉他——在街角、小酒馆和简陋点唱酒吧中表演。歌词深沉且个人化，关于魔鬼、女人和艰难时世。这种音乐后来演化为城市蓝调，并为摇滚乐、爵士乐、节奏蓝调提供了源头——它是二十世纪美国音乐的起源之火。
Country Blues means rural Blues; Blues far away from the city, at a time when there existed almost no popular music whatsoever. Country Blues did not evolve out of Country music: it was the other way around. Therefore the only existing music besides Folk and Classical music at the time of Blues’s conception was Gospel. Almost automatically, Blues becomes the antithesis of Gospel. Wandering black singers who lost their faith due to misfortune slowly but steadily developed their personal, secular type of Gospel or more accurately: “badspel”, as there was little positive news for them to tell. At first they simply used (cheap) banjos, and later bottleneck guitars on which they liked to play blue notes while singing AAB verses. The music was very spontaneous and improvised: singers would play any chords and sing any lyrics that would come to mind, but often about tragic or depressing events.

Folk or Country Blues has almost as many different subgenres as there are regions in southeastern US: Delta Blues, Acoustic Texas Blues, Memphis Blues, Atlanta Blues, Piedmont Blues, etc.
Delta Blues aka Mississippi Blues evolved around 1927 in the Mississippi Delta and remained a small but long-lasting subgenre.
Piedmont Blues encompasses different local Blues styles around the east coast (from Virginia to Atlanta) that exhibit a more Country-like sound.
And Hokum Blues is a very early and fast type of Blues with piano and two guitars where humor and innuendo play a great deal of importance: proto Boogie Woogie.

Folk or Country Blues doesn’t die but keeps lingering as a parallel Blues stream, even when Classic Blues and Jazz start to build up momentum. The appeal of minimal, DIY, sincere Blues music ensures that many subgenres remain alive until this very day.
", "songlist": [ "Shake That Thing", "Take a Whiff on Me", "Lightnin' Hopkins - Nightmare Blues", "Robert Wilkins - That's No Way To Get Along", "Willie Walker - Dupree Blues (1930)", "Charlie Patton - Shake it and Break it", "Blues in G", "Son House ＂Death Letter Blues＂" ], "playlistID": "PLb15rbk6I4pOZ8HgV0xIqEDvm74DVEAEP", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOZ8HgV0xIqEDvm74DVEAEP", "spotify-playlist-link": "https://open.spotify.com/playlist/3T7DAYvD463y9OrelE3aSV?si=5QP-pYfrRA2nHL3vqWonkg", "name_zh": "民谣蓝调 / 乡村蓝调 / 三角洲蓝调" }, "blu02": { "name": "VAUDEVILLE / CLASSIC BLUES
杂耍蓝调 / 经典蓝调", "year": "1923", "supergenre-first-tag": "BLUES", "description": "
随着蓝调获得更广泛的受众——尤其是在黑人聚居的城区——这一流派进入了其第一个商业化阶段。杂耍蓝调（Vaudeville Blues）和经典蓝调（Classic Blues）将蓝调从田野带到了舞台。这一时期的蓝调由女性歌手主导——Ma Rainey（\"蓝调之母\"）和 Bessie Smith（\"蓝调皇后\"）是最著名的。\n\n经典蓝调歌手登上舞台时配有乐队伴奏和专业制作——与民谣蓝调孤独、原声的音景形成了显著的对比。这些表演设置在杂耍剧院中，蓝调与喜剧、舞蹈等综艺节目共享舞台。这一时代证明了蓝调不仅仅是民谣——它可以成为专业的娱乐，首次将这种南方的声音带到了北方观众面前。经典蓝调歌手为后来的爵士人声和节奏蓝调铺平了道路。
Classic Blues is not the first type of Blues, but the name can be explained by its feat as the first Blues genre to go on record (and thus one of the first recorded popular music in general). Also known as Vocal or Female Blues, Classic Blues is a whole different story than Country Blues. Under the influence of classy Jazz musicians, Blues was reshaped into an upper class phenomenon played in theaters in the big city, and therefore regarded as a sort of vanguard of urban blues (albeit completely different in form). Instead of freewheeling male rebels in shady bars, the music was performed by well-dressed female vocalists on stage during vaudevilles. These were professional divas already familiar with stage performance, and who turned their eye on Blues once it became popular, though they were accompanied by Jazz instruments.

Vaudeville shows were adult-only, and often included sexually themed lyrics (in a very explicit manner). As Classic Blues formed an early link with Jazz, rural Country Blues evolved in the opposite direction and became rougher and more guitar-oriented. When Prohibition in the US ended, so did Classic Blues, paving the way for something less formal but equally bold: Boogie Woogie.
", "songlist": [ "Mamie Smith - Crazy Blues (1920)", "Lucille Hegamin - Has Anybody Seen My Corine？", "Bessie Smith - Need a Little Sugar In My Bowl (Audio)", "Roots of Blues -- Ma Rainey „Booze And Blues＂", "Lucille Bogan - Shave 'Em Dry (1935)", "Ida Cox - Lawdy, Lawdy Blues", "Alice Leslie Carter w⧸Jimmie Johnson's Jazz Boys You'll Think Of Me Blues (1921)", "Martha Copeland and her Smokey City Trio - Everybody Does It Now", "Virginia Liston- You Got the Right Key but the Wrong Keyhole" ], "playlistID": "PLb15rbk6I4pP0dfE981WTvJYTRcuBxf9_", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP0dfE981WTvJYTRcuBxf9_", "spotify-playlist-link": "https://open.spotify.com/playlist/1j8fZZ7bJ8J8APBIK0l5vZ?si=T-vAldsARiSj_jYF75kyZg", "name_zh": "杂耍蓝调 / 经典蓝调" }, "blu03": { "name": "BOOGIE WOOGIE / PIANO BLUES
布吉伍吉 / 钢琴蓝调", "year": "1928", "supergenre-first-tag": "BLUES", "description": "
受拉格泰姆音乐的启发，蓝调在二十年代末被引入钢琴领域，形成了钢琴蓝调——但更广为人知的名称是布吉伍吉（Boogie Woogie）。布吉伍吉是蓝调更欢快、更狂躁的对应物。以滚动的低音线为特征——左手在钢琴上演奏重复的八分音符模式——布吉伍吉是为聚会而生的音乐。\n\n钢琴蓝调将钢琴确立为蓝调的主要乐器。布吉伍吉的滚动、驱动节奏后来被如 Jerry Lee Lewis 等摇滚钢琴家采纳，成为摇滚乐的关键先驱。同时，它代表了蓝调历史中的一个重要转折：蓝调可以从弦乐器转移到键盘乐器，为这一流派增添了全新的表现维度。这种富有感染力的、舞曲导向的能量直接预演了后来的摇滚乐革命。
Inspired by Ragtime music, Blues got introduced to the piano by the end of the twenties, forming Piano Blues but better known as Boogie Woogie. Similar to Ragtime, left hand provided a steady bass and the right hand provided the treble counterpoint. The result was a very rhythmic, syncopated Blues, much more uptempo and happy than usual. The piano also made it possible to add a 4/4 beat, with accent on 2nd and 4th beat. Hence, Boogie Woogie introduced the backbeat into the world of music: a milestone of great significance. Boogie Woogie’s backbeat is called a shuffle, and it made people’s feet move everywhere.

Boogie Woogie formed the ideal relief after the Great Depression and epitomized music removed of inhibition following the end of prohibition. As a post-depression natural muscle stimulant, Boogie Woogie rapidly became the drug of choice in the thirties, and it wouldn’t take long before “doing the boogie” was a common phrase for dancing to this hyperactive type of Blues.

Of course, Boogie Woogie is or was often abbreviated to Boogie, but this is deliberately avoided here to not cause confusion with the other, unrelated genre Boogie. Another synonym for the genre – Barrelhouse Blues - is derived from a bar at the time where most of the music was played: a barrelhouse. In rather a “loose” atmosphere than a tight one, Barrelhouse Blues was extremely infectious. Of particular interest were the barrelhouses in New Orleans where Piano Blues evolved into New Orleans Blues during the forties, which laid one of the foundations for Funk.
", "songlist": [ "Clarence ＂Pinetop＂ Smith - Pinetop's Boogie Woogie", "Little Brother Montgomery - Brothers Boogie", "Pete Johnson and Joe Turner - Roll 'Em Pete (1938)", "Roosevelt Sykes - ＂Gulfport Boogie＂", "Gangster's Blues", "Amos Milburn - Chicken Shack Boogie", "Piano Red Red's Boogie (RCA VICTOR 22-0099) (1950)", "Walter Roland - Big Mama" ], "playlistID": "PLb15rbk6I4pPIM8v4v7sF4C_YbbTSHWur", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPIM8v4v7sF4C_YbbTSHWur", "spotify-playlist-link": "https://open.spotify.com/playlist/3aBokxwl8Xa6zmbheUPmCj?si=4cRpGZTLRtuzJ1hwNXP2Hw", "name_zh": "布吉伍吉 / 钢琴蓝调" }, "blu04": { "name": "(ELECTRIC) TEXAS BLUES
电子德克萨斯蓝调", "year": "1936", "supergenre-first-tag": "BLUES", "description": "
得克萨斯蓝调——特别是其电声形式——代表了蓝调的一个重大转变：放大。T-Bone Walker——得克萨斯蓝调最重要的人物——是最早采用电吉他的蓝调音乐人之一，创造了一种更响亮、更具金属质感的声音。得克萨斯风格强调吉他独奏——比三角洲蓝调的独奏更长、更旋律化，经常融入爵士乐的影响。\n\n电声得克萨斯蓝调独特地融合了乡村蓝调的质朴真实与城市蓝调的精炼技巧。T-Bone Walker 华丽的舞台表演——背着吉他、劈叉——同样开创了先河。这一流派是蓝调传统中的关键转折点：原声的亲密感被电声的力量所取代，将蓝调从私密的场所带到了更大的舞台。电声得克萨斯蓝调直接为蓝调摇滚和后来的一切摇滚吉他演奏奠定了基础。
Texas Blues is one of the most important types of Country Blues. Like so many other genres, Texas Blues evolved from a strictly acoustic style to an electric one. The addition of electric guitars wouldn’t happen until the late forties, but this changed it into something else: proto Blues Rock. Blues suddenly sounded a lot more edgy, emotional, and rough; something that made up the core of Blues, but which it had lost along the way (with all the hyperactive, jazzy types of Blues). Because this modern approach ironically put Blues back in touch with its roots, electric guitars were suddenly found in all types of Blues, whether it was Delta, Texas, Memphis, Chicago, Detroit or whatnot. Strictly speaking, Electric Blues is therefore an umbrella term, but a very real and important one. (Electric) Texas Blues is characterized by exuberant showmanship; its musicians like to impress the audience with energetic solos and assertive performance. Despite its modest popularity, Texas Blues was of great influence to more modern Blues genres and the primary exponent of Country Blues.
", "songlist": [ "Memphis Minnie - Me And My Chauffeur Blues", "Long way Home Clarence Gatemouth Brown with Eric Clapton", "Albert Collins - Lights Are On But Nobody's Home", "Freddy King- Big legged woman", "Pee Wee Crayton - Texas Hop", "Johnny Copeland - Old Man Blues.wmv", "Lowell Fulson - Reconsider Baby", "SAM MYERS with Anson Funderburgh, Suggestion Blues" ], "playlistID": "PLb15rbk6I4pP5tG8GW_9UHVJiCbzf429W", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP5tG8GW_9UHVJiCbzf429W", "spotify-playlist-link": "https://open.spotify.com/playlist/65uh3OUVlHMZnPiww8tEo2?si=flbPqJWRSrqzGOq-Fltvxg", "name_zh": "电子德克萨斯蓝调" }, "blu05": { "name": "JUMP BLUES
跳跃蓝调", "year": "1940", "supergenre-first-tag": "BLUES", "supergenre-second-tag": [ "slave", "(r & b)" ], "description": "
跳跃蓝调（Jump Blues）出现于四十年代，作为大乐队摇摆乐（Swing）与蓝调的融合。以快节奏、嘹亮的小号声部、萨克斯独奏和一种更轻松幽默的歌词风格为特征——常常包含巧妙的双关语和调侃。Louis Jordan 和他的 Tympany Five 是这种风格的无可争议的王者，创作了无数跨界热门歌曲。\n\n乐队被缩减为大乐队节奏组加上一个小号声部——更小、更快、更放克。跳跃蓝调被广泛认为是摇滚乐和节奏蓝调的最直接先驱之一——它在摇滚乐被发明多年之前，就已拥有摇滚乐的大部分能量和态度。那种驱动的节拍、萨克斯的嘶吼和人声的呐喊风格后来成为早期摇滚乐配方的关键成分。像 Wynonie Harris 和 Big Joe Turner 这样的艺术家填补了蓝调和即将成为摇滚乐之间的空白。
The appeal of grand parties with a big band found its way to (Piano) Blues at the end of the thirties. More instruments were added to Piano Blues, especially brass (including saxophone) but also rhythm guitars. The result was a much larger band than usual with less focus on the singer: a combination of Jazz and Blues. Singers were forced to use as much volume as possible or combine their voices to drown out the band, which led to the concept of “shouters”. The audience reinforced the rhythm with abundant clapping accompanied by the piano. Jump Blues intensifies Boogie Woogie’s backbeat further to make a sort of “Dance Blues” or “Beat Blues”. Shouting, clapping, backbeat, big bands…: Jump Blues is unmistakably the most swinging, optimistic and humorous type of Blues, a large contrast with some other Blues genres.

When the rest of the world was concerned with WWII, the East Coast of the US seemed to live in a happy bubble with this uptempo, bouncing, rolling, rumbling and tumbling music (and let's not forget jumping of course). But Jump Blues also became highly popular in the West Coast, where it was played at L.A.’s clubs and evolved into West Coast Blues.

Jump Blues is proto Rhythm & Blues and therefore proto Rock ‘n’ Roll, which implies that it was simply too popular and catchy to be constrained within the family line of Blues.
", "songlist": [ "Louis Jordan - Is You Is Or Is You Ain't (My Baby)", "Wynonie Harris - Good Rockin' Tonight", "Roy Brown Boogie At Midnight", "JOE TURNER Shake, Rattle and Roll 78 rpm 1954", "ROY MILTON - Baby You Don't Know [Cenco 109] 1961", "Jay Mcshann - Blue Devil Jump", "Cab Calloway - Minnie the Moocher", "Jimmy Witherspoon - When The Lights Go Out (1954) [Digitally Remastered]" ], "playlistID": "PLb15rbk6I4pNBWCtiE76sPEmk5g2qm0lM", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNBWCtiE76sPEmk5g2qm0lM", "spotify-playlist-link": "https://open.spotify.com/playlist/5s7m7SqZltpRv8V67HMyH8?si=gnBs9EaJR46vLEPAtFCnoQ", "name_zh": "跳跃蓝调" }, "blu06": { "name": "CHICAGO BLUES / CITY BLUES / URBAN BLUES
芝加哥蓝调 / 城市蓝调", "year": "1946", "supergenre-first-tag": "BLUES", "description": "
当南方黑人大量移居芝加哥——蓝调也随之适应。芝加哥蓝调就是电声蓝调的成熟形式：全放大的乐队，包括电吉他、贝斯、鼓、口琴，常常还有钢琴。这一流派的音乐是为嘈杂、拥挤的俱乐部而设计的，因此其音量更大、攻击性更强。\n\nMuddy Waters 和 Howlin' Wolf 等艺术家定义了芝加哥之声——一种更重、更粗粝的电声蓝调。Muddy Waters 在 1948 年推出的《I Can't Be Satisfied》经常被视为芝加哥蓝调的起始点。芝加哥构建了蓝调乐队——不再是单人独奏，而是完整的电声合奏。口琴通过放大器演奏，产生一种在其他地方听不到的嚎叫声。芝加哥蓝调是蓝调摇滚的直接前身，也是六十年代英国蓝调复兴的主要影响来源——当年轻的英国音乐家如 Rolling Stones 开始翻唱芝加哥蓝调标准时，他们将这种声音重新带回了美国，完成了完整的循环。
Chicago Blues has been around since the Great Depression. Slowly the genre developed during the thirties and forties, albeit in a much different way than what is usually referred to as Chicago Blues. What was originally a strictly acoustic, more reserved type of music, changed into a loud and angry son of a gun after World War II. Postwar urban migration skyrocketed in 1946 and brought different types of rural Country Blues together in the northern cities of the US (not only Chicago). Blues musicians from various backgrounds tried their luck in the big city, and ended up influencing each other. At first, the music was not that much different from Country Blues, but there was a spawning pool of talent where musicians could team up and learn from each other. Busy city neighborhoods and large house parties however, urged the need for louder music. The introduction of the electric guitar in the forties wasn’t just luck; it came right at the time it was most needed for the survival of urban Blues. Amplified harmonicas, drums, amplified guitars and loud, raunchy vocals suddenly gave Blues a heavily modernized sound.

Sometimes Chicago Blues is further divided into West Side Blues and East Side Blues (the names are self-explicatory), but these are rather obscure genres. Chicago Blues ushered in a new age for Blues, and has been arguably the most influential type of Blues ever since. But the revolutionary sound takes only partly credit; fierce, raw, dynamic voices in vibrato give Chicago Blues a much more aggressive and darker appearance than other Blues, like a caged monster breaking free from its chains.
", "songlist": [ "Muddy Waters - Im a Man (Mannish Boy)", "Howlin Wolf - Spoonful", "The Sky is Crying", "JIMMY REED - Shame, Shame, Shame", "Messin' With The Kid", "Willie Dixon - Back door man", "All My Love In Vain", "Chicago Moan Blues", "John Lee Hooker - Boom Boom [HQ]", "Little Walter - Blue and Lonesome (Take 1)" ], "playlistID": "PLb15rbk6I4pP70vfiZ_2NV8r_tXNULnVk", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP70vfiZ_2NV8r_tXNULnVk", "spotify-playlist-link": "https://open.spotify.com/playlist/6ilapuid9MhTe42Z6lnRTU?si=IyXxG63zSWSSJqq0CxgNIA", "name_zh": "芝加哥蓝调 / 城市蓝调" }, "blu07": { "name": "WEST COAST BLUES
西海岸蓝调", "year": "1956", "supergenre-first-tag": "BLUES", "description": "
西海岸蓝调（West Coast Blues）在加利福尼亚发展起来，采取了更流畅、更爵士化的方式。T-Bone Walker 和 Charles Brown 等艺术家将蓝调与爵士钢琴和一种更精致、都市化的感受融合在一起。西海岸风格不如芝加哥蓝调粗犷——它是鸡尾酒蓝调：酷炫、流畅、精雕细琢。\n\n沃茨（Watts）和奥克兰（Oakland）的俱乐部孕育了一种悠闲奢华的场景——与南方小酒馆的粗粝形成了明确的对比。Charles Brown 流畅的演唱和精致的钢琴伴奏定义了这种\"俱乐部蓝调\"的美学。西海岸蓝调代表了蓝调对城市西海岸生活的适应——证明了这一流派可以根据环境不断自我重塑。它也在某种程度上预示着后来柔顺爵士（Smooth Jazz）的兴起。
East Coast Blues is the umbrella term for Piedmont Country Blues and Jump Blues, both more ‘jazzy’ types of Blues. Therefore it’s not really a well-defined genre, whereas West Coast Blues certainly is. A bit surprisingly, West Coast Blues is also very jazzy but not in a cool and relaxed way like East Coast Blues. West Coast Blues radiates a typically West Coast warm, delicate, and rhythmical aura. The genre is heavily based on the piano, yet also received influences from different genres of Blues (and of course West Coast Jazz) thanks to artists migrating to the west. The piano can be accompanied or replaced by a Blues guitar, but played in a jazzier manner. Just like East Coast Blues, West Coast favors technical sophistication and a certain finesse over unbridled emotion or introspective lyrics. It is Blues wrapped in a gentle blanket, with an unmistakably smoothened sound. Many night clubs favored this blanket: the lightweight sound never impedes intimate conversations, and lyrics are more politically correct than other forms of blues. Yet it remains true Blues, capable of piercing the heart once in a while. Similar to West Coast Jazz, it became the stereotypical background music for bluesy night bars, whether live or recorded.
", "songlist": [ "T-Bone Walker - Call It Stormy Monday", "Amos Milburn - One Scotch, One Bourbon, One Beer", "Pee Wee Crayton - The Telephone Is Ringing (Vee-Jay 214)", "Lowell Fulson ⧸ Black Nights", "Jesse Fuller - ＂Beat It On Down The Line＂", "Since I Met You Baby", "Charles Brown - Please Come Home For Christmas", "JJ Malone ＂Whatever it is＂", "L.C. Robinson - Somerville Blues" ], "playlistID": "PLb15rbk6I4pOI2ihESCSL1-0bm61nic-G", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOI2ihESCSL1-0bm61nic-G", "spotify-playlist-link": "https://open.spotify.com/playlist/6cdA676rOqtyYGOH1Lewoz?si=odg-W7UhQBmqyzPvj0F9rw", "name_zh": "西海岸蓝调" }, "blu08": { "name": "LOUISIANA BLUES /SWAMP BLUES
路易斯安那蓝调 / 沼泽蓝调", "year": "1959", "supergenre-first-tag": "BLUES", "description": "
路易斯安那蓝调——特别是沼泽蓝调（Swamp Blues）——浸透了南方沼泽的湿气。以缓慢、催眠的节奏和几乎像巫毒的氛围为特征，沼泽蓝调听起来像闷热的夏夜——慵懒、不安，同时又不可抗拒。Slim Harpo 和 Lightnin' Slim 等艺术家在 J.D. Miller 位于克劳利（Crowley）的简陋录音室中创造了一种既萦绕又悠闲的音乐。\n\n口琴常常承载着旋律，而吉他和贝斯沉入回声（reverb）和颤音（tremolo）之中。《Baby Scratch My Back》和《Rainin' in My Heart》等歌曲定义了这种声音。沼泽蓝调保持了一批忠实追随者，其影响可以在后来的石人摇滚（Stoner Rock）和南方摇滚中听到——那些缓慢、模糊的节奏直接源于路易斯安那的河口。
Deep in the swamps of Louisiana, not only Country but also Blues was made. As one could expect, this was slow, plain, Country-like Blues. In this isolated and humid wilderness, Creole Folk music already existed long before Blues. One of the first types, (black) Cajun, mixed with Rhythm ‘n’ Blues into Zydeco, a French type of proto-Blues. Both Cajun (music) and Zydeco are known for their driving beat, dotted with harsher or unusual sounds like washboards.

After some time, Zydeco evolved into Lousiana Blues, particularly in Baton Rouge, capital of Louisiana. The music became the soundtrack of the environment, which from that moment on would naturally be associated with rural, southern swamps: haunting echos and plenty reverb, cricket-like sounds, and slow, trembling guitars. The “swamp sound” was mostly dominated by accordion and harmonica, further enriching a stereotypical atmosphere associated with the music.
", "songlist": [ "LIGHTNIN' SLIM ~ THATS ALRIGHT", "Baby Scratch My Back (Single Version)", "Pondarosa Stomp - Lazy Lester", "Dark Clouds Rollin'", "RAFUL NEAL - Down And Out.", "Blind Snooks Eaglin - That's Alright", "RockinSidney-Harlem Shuffle", "A Thousand Miles From Nowhere" ], "playlistID": "PLb15rbk6I4pNYCPybA_KQEv1l1gL2WtJH", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNYCPybA_KQEv1l1gL2WtJH", "spotify-playlist-link": "https://open.spotify.com/playlist/1SJCp6GHU9rQPXW6F7dBv8?si=-BJpTaEyQnOx49Y7DGkFiw", "name_zh": "路易斯安那蓝调 / 沼泽蓝调" }, "blu09": { "name": "BRITISH BLUES & BLUES ROCK
英伦蓝调 & 蓝调摇滚", "year": "1964", "supergenre-first-tag": "BLUES", "supergenre-second-tag": [ "master", "GOLDEN AGE" ], "description": "
蓝调穿越大西洋。英国蓝调是英国音乐家重新发现和重新诠释美国蓝调的结果——通常是那些甚至不认识原版的听众。像 Rolling Stones、Fleetwood Mac（在 Peter Green 时期）、The Yardbirds 和 John Mayall's Bluesbreakers 这样的乐队将蓝调标准介绍给一代英国青少年，而他们最初几乎不知道这些歌曲的来源。\n\n英国蓝调比美国蓝调更重、更响——部分是出于热情，部分是由于不完美地试图复制他们从唱片上学到的声音。蓝调摇滚是这种痴迷的自然结果——蓝调的结构和情感被放大器和态度推到了极限。Eric Clapton、Jimmy Page 和 Jeff Beck 将蓝调吉他转化为精湛的、适合体育场规模的艺术。英国蓝调复兴完成了一个非凡的循环——年轻的英国白人重新包装了一种他们从未亲历过的黑人美国传统，并将其卖回给美国。
Parallel to the British Rock Invasion, the British Blues Invasion took hold, which was sometimes hard to separate from the other one. Yet British Blues aka British R&B started out in London instead of Liverpool and was not influenced by Merseybeat. As Blues became harder, faster and louder, and Rock started to take an interest in Jazz (Acid Rock), the two grew from quite different paths into a powerful combination which was performed by a huge amount of artists during the sixties and seventies. There is a large area of overlapping between Blues Rock and Acid Rock and often the same artists are mentioned for both genres. Blues Rock artists usually sang anti-establishment lyrics, paving the road for later Metal.

Smaller subgenres were eventually formed as well, such as the Piano Blues based Boogie Rock. Blues Rock stayed true to the early three-chord Chicago Blues, but added more guitar improvisation (solos), distortion and psychedelic effects. Especially Chicago legends Muddy Waters, Howlin’ Wolf, and Robert Johnson were a huge influence on this new wave of Blues artists. A remarkable fact, considering that all original Blues Rock artists are white. And thus American (black) Blues was injected into the world of British (white) Rock.
", "songlist": [ "The Rolling Stones - Gimme Shelter (Official Lyric Video)", "Canned Heat - On The Road Again [HQ]", "Eric Clapton - Cocaine [Official Live Video)", "Born in Chicago-Paul Butterfield Blues Band", "Johnny Winter - Rock And Roll, Hoochie Koo", "Don't Bring Me Down", "Spencer Davis Group - I'm a Man", "CHICKEN SHACK - The Thrill is gone", "Alexis Korner- Get Off My Cloud", "Derek And The Dominos - Layla" ], "playlistID": "PLb15rbk6I4pP_-xpGRXdtJHBQtAtGbXhq", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP_-xpGRXdtJHBQtAtGbXhq", "spotify-playlist-link": "https://open.spotify.com/playlist/14cMxSmqiSIPoWBi0gIgb8?si=c5eteR-vRtaUwb4QHEdU8Q", "name_zh": "英伦蓝调 & 蓝调摇滚" }, "blu10": { "name": "TEXAS BLUES ROCK & MODERN ELECTRIC BLUES
德州蓝调摇滚 & 现代电子蓝调", "year": "1970", "supergenre-first-tag": "BLUES", "description": "
蓝调摇滚从未停止进化。得克萨斯蓝调摇滚和现代电声蓝调代表了七十年代后这个流派的持续活力。得克萨斯蓝调摇滚——以 Stevie Ray Vaughan 为火炬手——将火热的吉他技艺与深沉的蓝调感受带回了主流。像 ZZ Top 这样的乐队添加了得克萨斯布吉的能量，同时保留了蓝调的灵魂。\n\n现代电声蓝调在传统蓝调结构与当代制作技术之间保持平衡。像 Joe Bonamassa 和 Gary Clark Jr. 这样的当代蓝调音乐人证明，蓝调不必是博物馆藏品——它可以是当代的、相关且充满活力的。这一场景中的吉他演奏是无情的——精湛的技艺是入场券。这些现代形式表明蓝调依然生机勃勃——通过放大器，蓝调仍然可以像其他任何音乐风格一样猛烈地击中。
Desperate times call for desperate measures. The seventies truly was a tragic decade for Blues, losing the majority of its fans to R&B. With a last-resort return to two different but highly popular old Blues genres, the tide could not really be turned but at least total engulfing was avoided. But while black fans fled the Blues scene, more and more white artists started to take an interest in Blues, and handpicked their favorite genres for personal restyling.

Texas Blues, a heavily guitar oriented type of old Country Blues, and Chicago Blues, the golden age of Blues, both became the subject of revivals with strong influences from Rock. These revivals were respectively named Texas Blues Rock and Modern Electric (Blues) aka New Chicago (Blues). Technically both genres involve the introduction of electric guitar and a Rock drum kit, which created a sort of second wave of Blues Rock. This wave happened on a much smaller scale than the first one, but more technically advanced, and with a harder sound. Its strong popularity in southern USA has created a great degree of overlapping with Southern Rock.

Typical for these genres are loud, wailing guitars with sustained high notes, and - despite many middle class white artists - this has given rise to the nickname “Ghetto Blues”. A great emphasis on guitar solos, like cries from the ghetto, and a wilder-than-thou sound provide insight as to why, though it is far more likely to encounter Texas Blues Rock and Modern Electric at desolated truck stop bars than in urban ghettos.
", "songlist": [ "Roy Buchanan - Turn to Stone", "Robben Ford - Talk To Your Daughter", "Robert Cray-Smoking Gun.wmv", "The Fabulous Thunderbirds - Tuff Enuff (Official Video)", "Omar & the Howlers 03 Border Girl 1986", "Electromagnets - Minus Mufflers", "The Blackwater Fever - Better Off Dead (Remixed & Mastered) [Official Music Video]", "The Barr Brothers – Half Crazy (Official Video)", "The Blasters - Dark Night" ], "playlistID": "PLb15rbk6I4pP96Io3YMtMGuHqGMLwlJQL", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP96Io3YMtMGuHqGMLwlJQL", "spotify-playlist-link": "https://open.spotify.com/playlist/6Iyw71DPa7hPVjVwufJYUu?si=ieECTR9URsWMSStvMeeX3g", "name_zh": "德州蓝调摇滚 & 现代电子蓝调" }, "blu11": { "name": "SOUL BLUES (SOUTHERN SOUL II)
灵魂蓝调 / 南方灵魂 II", "year": "1973", "supergenre-first-tag": "BLUES", "supergenre-second-tag": [ "master", "R & B" ], "description": "
灵魂蓝调（Soul Blues）代表了情感和态度最终成为蓝调声音中不可或缺的一部分的时刻。灵魂蓝调——深深扎根于南方灵魂乐（Southern Soul）传统——以更充分的编曲、铜管乐器声部以及一种更接近 R&B 而非纯蓝调的演唱风格为特征。它是内心蓝调与舞池律动之间的桥梁。\n\nBobby \"Blue\" Bland——灵魂蓝调最伟大的声音之一——以他的喊叫和咆哮定义了这种声音，辅以饱满的铜管编曲。像 Little Milton 和 ZZ Hill 这样的艺术家继续将蓝调叙事与灵魂乐的编排融合。灵魂蓝调代表了蓝调身份的重要演变：从孤独的个人表达转向更集体、更律动导向的形式——证明了蓝调可以在拥抱当代黑人音乐的同时保持其本质。
The decline of Soul (due to the rising popularity of other genres) was mourned by many. Especially the earliest type, Stax Soul, became the subject of grief, which golden days were already long gone by the late seventies. Poor black communities of the Southern states felt nostalgic about this rough, emotional and sometimes tragic music, to which they could relate more than than contemporary genres. As a part of the regional culture, Stax Soul got reinstituted but in the form of a crossover with Blues (making it even more emotional, and often melancholically sounding). It is nevertheless not incorrect to speak about a Southern Soul revival or a second wave, and perhaps even advisable to differentiate the genre from another type of Soul Blues. This other style already existed in the fifties and is known as New Orleans Soul or New Orleans Blues, which was a strong influence on both Soul and Funk. New Orleans Blues – a first wave of Soul Blues – is a very emotional, melismatic type of Blues, often featuring falsetto vocals. Unsurprisingly this type of Soul Blues was quite similar to early Rhythm ‘n’ Blues.
", "songlist": [ "Booker T & the M G 's - Green Onions (Original ⧸ HQ audio)", "Mercy On My Soul", "Bobby Rush - Hoochie Mama", "Bobby Bland ＂I've Been Wrong So Long＂ from 1960 on DUKE #327", "Memphis Slim- I'm Lost Without You", "Yellow Pocahantas - Champion Jack Dupree", "Professor Longhair - Mardi Gras in New Orleans" ], "playlistID": "PLb15rbk6I4pPPdYqzoipjXyR2Qo6OZ28Q", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPPdYqzoipjXyR2Qo6OZ28Q", "spotify-playlist-link": "https://open.spotify.com/playlist/1bX2oneyOx8j9JOd9fx08S?si=j2vhwlFqSeqciUw0tIbolQ", "name_zh": "灵魂蓝调 / 南方灵魂 II" }, "blu12": { "name": "HILL COUNTRY BLUES & TRANCE BLUES
山地蓝调 & 迷幻蓝调", "year": "1990", "supergenre-first-tag": "BLUES", "description": "
山地乡村蓝调（Hill Country Blues）和迷幻蓝调（Trance Blues）代表了蓝调最原始、最催眠的极端。山地乡村蓝调来自密西西比北部丘陵地带——一个与三角洲不同的地区——以 R.L. Burnside 和 Junior Kimbrough 为代表。它基于重复的、单一的连复段，盘旋往复直至进入迷幻状态，而不是沿袭传统的 12 小节蓝调格式。它的节奏是循环的、部落的——驱动性远远超过装饰性。\n\n迷幻蓝调——正如名字所暗示的——将蓝调推向完全令人出神的方向。重复的、催眠的节奏和滑音吉他模式营造出一种声音的咒语。这些流派证明蓝调可以完全放弃传统的歌曲结构，转而追求纯粹的、不加切割的氛围——它们代表了蓝调进化中最远的前沿，在那里，律动吞噬了形式。
“Hill Country” refers to a specific region in Northeast Mississippi where a more radical style of Delta Blues was being developed, almost as old as Blues itself: Hill Country Blues. This style has no 12 bar rhythms, and is more riff and percussion based than other Country Blues styles. It can be a very pure, almost stripped type of Blues with classic instruments, sometimes only an acoustic guitar. This makes it reminiscent of Delta Blues but with a faster, highly rhythmic, repetitive tempo intensified by the punctuated, shivering sound of guitar or harmonica, guaranteed to entrance the listener or give one goose bumps.

The hypnotic quality of Hill Country Blues was further extended in the nineties, due to experimental use of techniques atypical of Blues such as sampling, mixing or digitally creating. Hill Country Blues evolved into something else: Trance Blues. With the use of repetitive breakbeats or cut-and-paste sound loops, a continuous and eclectic style emerges that surprises the average Blues fan with a modernized sound.
", "songlist": [ "Mississippi Fred McDowell - Shake 'Em On Down", "Booker White - Poor Boy Long Way from Home", "Junior Kimbrough - Burn In hell", "Bukka White-Got Sick And Tired", "Train Train", "Robert Belfour - Hill Stomp", "RL BURNSIDE rollin' & tumblin'", "Brujo", "Public Enemies Otis Taylor - Ten Million Slaves [HD]" ], "playlistID": "PLb15rbk6I4pONYJdLQFnlB42RELw6aHVm", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pONYJdLQFnlB42RELw6aHVm", "spotify-playlist-link": "https://open.spotify.com/playlist/2y0yKH9v02J3MTeUpum3MX?si=cn7pz7s7SnCqY2KCksspwA", "name_zh": "山地蓝调 & 迷幻蓝调" }, "jaz01": { "name": "NEW ORLEANS JAZZ & DIXIELAND JAZZ
新奥尔良爵士 & 迪克西兰爵士", "year": "1915", "supergenre-first-tag": "JAZZ", "description": "
新奥尔良的独特位置——密西西比河与墨西哥湾交汇处——使它成为文化的大熔炉，在这里，非洲节奏、欧洲军乐、法国歌剧和加勒比民谣相遇并碰撞出美国最伟大的音乐发明：爵士乐。新奥尔良爵士最早出现于二十世纪头十年，在俱乐部、葬礼和街头游行中演奏。它基于集体即兴演奏——小号、单簧管和长号各演奏交织的旋律线，由节奏组支撑——而不是后来的独奏者主导的形式。\n\n迪克西兰爵士（Dixieland Jazz）是新奥尔良爵士的白人对应物——同样的风格，但由不同的种族背景演奏和推广。1917年，Original Dixieland Jazz Band 录制了被认为是有史以来第一张爵士唱片。这个早期爵士乐时代以欢快、充满活力的演奏和对蓝调的深厚债务为特征，确立了即兴演奏作为这一流派核心信条的地位。King Oliver、Jelly Roll Morton 以及年轻的路易斯·阿姆斯特朗（Louis Armstrong）代表了新奥尔良爵士的黄金时代。
The very first type of Jazz was played in the background of bars (barrelhouses), brothels, and cabarets by a small band. It first appeared in New Orleans thanks to the melting pot present of Ragtime, Haïtian Folk, Creole Folk and Country Blues. New Orleans was not only home to Dixieland marching bands and a main port for sea travel with Cuba, but a former French colony as well. Cuban music, French music, and marching bands all heavily influenced Jazz, making it one of the most diverse musical stews.

The music was not rough and emotional like Blues, but balanced and reserved. The basic instrument ensemble for New Orleans Jazz is trumpet, clarinet and trombone; a very modest but complementary trio, filling all frequencies and improvising around each other. No instrument dominates: they all communicate and play out their melodies at each other in a counterpoint manner. The technique of counterpoint came into Jazz through Cuban Contradanza (or Habanera) music, which in turn came from French Contredanse. All three instruments also improvise collectively instead of separately, an important difference with later Jazz. Improvisation and experimentation were common in Jazz and stimulated by frequent marihuana use, as the drug was still legal in the U.S. during the 1910s and 1920s.

After a while, Jazz bands expanded and became performed by white artists, leading to a slightly different sound (more instruments) which is known as Dixieland Jazz, though the difference is negligible.
", "songlist": [ "King Oliver's Creole Jazz Band：- ＂Snake Rag＂ (1923)", "Original Dixieland Jass Band - Livery Stable Blues (1917)", "Kid Ory - Ory's Creole Trombone (1922)", "＂Shake It And break It＂ King Oliver and Henry 'Red＂ Allen", "Dixieland - Buddy Bolden", "Lu Watters – Skid Da De Dat", "New Orleans Stomp - Louis Armstrong", "George Lewis： Burgundy Street Blues", "Freddie Keppard Plays ＂High Fever＂" ], "playlistID": "PLb15rbk6I4pPN2xFywSkxlqS8OvsThfM_", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPN2xFywSkxlqS8OvsThfM_", "spotify-playlist-link": "https://open.spotify.com/playlist/4vqnPSBJfugZwTG2rOM1Is?si=JOotomACQ2uADAOZe6TQcA", "name_zh": "新奥尔良爵士 & 迪克西兰爵士" }, "jaz02": { "name": "CHICAGO JAZZ
芝加哥爵士", "year": "1926", "supergenre-first-tag": "JAZZ", "description": "
二十世纪二十年代，大量非裔美国人从新奥尔良和其他南方地区迁移到芝加哥，为了更好的工作和逃离吉姆·克劳（Jim Crow）法律。芝加哥——由于铁路的延伸，成为连接美国各地的非常重要的交通枢纽——迅速成为爵士乐的新震中。芝加哥爵士代表了新奥尔良爵士音乐家北上时所发生的变化：声音变得更响亮、更急切，以适应喧闹的城市俱乐部。\n\n独奏变得更加突出——尤其是路易斯·阿姆斯特朗在芝加哥与他的 Hot Five 和 Hot Seven 乐队一起，彻底改变了独奏的概念，证明单个号手可以像整个合奏一样令人兴奋。钢琴和吉他在芝加哥场景中扮演了更重要的角色，因为芝加哥拥有强大的蓝调传统。芝加哥爵士也引入了萨克斯管作为爵士乐的主要乐器——一个后来成为爵士声音经典的转变。芝加哥时代代表了爵士乐从集体即兴演奏向以独奏为中心的现代形式的过渡。
During America’s period of prohibition, Chicago became a very popular transportation hub, connecting various parts across the country. As the first true “city Jazz”, Chicago Jazz influenced (and got influenced by) many musicians, also Blues artists. Its importance however is rather modest compared to Chicago Blues. Where the Windy City proved beneficial in bringing different regional styles of Blues together, the upside for Jazz was more superficial as Jazz started primarily in one region. However, Chicago provided the possibility for numerous young white artists to come in contact with this unknown black music and alter it to a more “European” sound. Chicago Jazz has more changes in composition, includes harmonies and is densely textured with many solos. While the music became more convoluted, it also received a “windy” overhaul, with cold, harsh and grouching sounds, fitting for Chicago’s climate. The latter aspect has given Chicago Jazz the alias “Hardcore Jazz”. The genre remained somewhat popular, due to its stereotypical sound that combines the hyperkinetic with the lunatic. Because it is also one of the oldest Jazz genres, recordings are very lo-fi, adding to an already comical nature of Chicago Jazz, and often used much later in cartoons or slapstick films. Ironically there was no humor at the base of Chicago Jazz, only the unbridled ambition of white youngsters.
", "songlist": [ "Joe Sullivan - Little Rock Getaway", "Bud Freeman's Windy City Five- Craze-ology (1928)", "＂The Darktown Strutters Ball＂ -Miff Mole and his Molers", "China Boy - Eddie Condon 1929", "Muggsy Spanier ＂At The Jazzband Ball＂", "Doctor Jazz", "Jimmy McPartland's Chicago Rompers-Donna", "E.C. Cobb & His Corn-Eaters - Transatlantic Stomp" ], "playlistID": "PLb15rbk6I4pNzP0-xtsp5tCAhYSI_gwNd", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNzP0-xtsp5tCAhYSI_gwNd", "spotify-playlist-link": "https://open.spotify.com/playlist/4d7iseQZsTL6hVv8QrCIcH?si=aOHd2JCpSOiwST3DpT72Dw", "name_zh": "芝加哥爵士" }, "jaz03": { "name": "SWING / BIG BAND
摇摆乐 / 大乐队", "year": "1930", "supergenre-first-tag": "JAZZ", "description": "
摇摆乐（Swing）不仅仅是爵士乐的一个子流派——它是一种文化现象。在大萧条最黑暗的岁月里，摇摆乐成为美国的声音配乐。大乐队——通常包括十五位或更多的音乐家，分为萨克斯、小号和长号声部——是主要的载体。节奏强拍落在了二和四上，创造了一种不可抗拒的、跳舞的律动。\n\n像 Duke Ellington、Count Basie 和 Benny Goodman 这样的乐队领队成为了全国性的名人。摇摆乐时代使爵士乐——曾经是可疑的俱乐部音乐——成为美国的主流流行音乐。这证明了爵士乐可以同时是严谨的、可跳舞的和商业化的。哈莱姆的 Savoy 舞厅和 Cotton Club 等场所成为这种音乐的传奇家园。然而，这个时代真正被记住的是它的人声——Billie Holiday 和 Ella Fitzgerald 定义了美国歌曲集（American Songbook）标准，至今仍是爵士人声的黄金标杆。
The gradual expansion of Jazz bands synergized with an increasing demand for escapist music during the thirties. After all, the world had just experienced its biggest financial crisis ever, where suicide was not out of the ordinary. Sheltering in the frivolous yet deafening sound of Big Band Jazz, man and woman, black and white alike, gathered in parties to deny the cold reality outside and experience this new craze: Swing.

Swing started with Jazz bands of ten instruments, but soon orchestras of 17 instruments became the standard; one can see that the phrase “big band” is not exaggerated. The setup consists of more reed and less brass instruments. String basses are also added. The music is very catchy, with call and response tunes, hooky riffs, and a 4/4 beat that makes it hard to stand still. Swing songs are highly structured compared to other Jazz. First the melody is played by all instruments. Then comes the vocal part with solos after which the chorus comes, consisting mostly of high notes.

The music was accompanied by its own dance, also called “Swing” or “swinging”, which has remained popular ever since. Related dances, such as Lindy Hop, were (and are) also commonly applied to Big Band Jazz. Remarkably, Swing became revived during the Second World War for an even greater moment of escapism. While enemy forces were bombarding the outskirts of the city, people partied and danced their worries away on the tunes of Swing, which could only be described as a Kafkaesque spectacle.
", "songlist": [ "＂SING, SING, SING＂ BY BENNY GOODMAN", "COUNT BASIE Swingin' the Blues, 1941 HOT big band swing jazz", "Duke Ellington - It don't mean a thing (1943)", "The Madam Swings It - Gene Krupa", "Chick Webb & his Orchestra Ella Fitzgerald - When I Get Low I Get High 1936", "The Jimmie Lunceford Orchestra-- My Blue Heaven.wmv", "Claude Thornhill - ANTHROPOLOGY" ], "playlistID": "PLb15rbk6I4pOA1HWcrOaYtATZpmBJ8ndw", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOA1HWcrOaYtATZpmBJ8ndw", "spotify-playlist-link": "https://open.spotify.com/playlist/0WOOJzIHFTDDllklIhEZd5?si=oWvXO45tQWu1XEpfQyIKQg", "name_zh": "摇摆乐 / 大乐队" }, "jaz04": { "name": "PROGRESSIVE JAZZ / THIRD STREAM & MODAL JAZZ
前卫爵士 / 第三流派 & 调式爵士", "year": "1937", "supergenre-first-tag": "JAZZ", "description": "
随着第二次世界大战的创伤淡去，人们对音乐中技术精湛的追求重新燃起。前卫爵士（Progressive Jazz）——并非一个精确的术语，而是对超越摇摆乐常规的爵士乐的一种概括——探索了新的大乐队可能性。\n\n第三流派（Third Stream）在一个真正独特的融合中，在爵士即兴与古典作曲之间架起了一座桥梁。像 Gunther Schuller 和 John Lewis 这样的音乐家试图将西方古典音乐的严谨结构与爵士乐的自发表达结合——这是一种智识上雄心勃勃的实验，虽从未在商业上取得突破，但仍具有影响力。\n\n调式爵士（Modal Jazz）以 Miles Davis 的专辑《Kind of Blue》（1959）为代表——通常被认为是有史以来最伟大的爵士专辑——标志着爵士乐从和弦进行（chord changes）转向音阶模式（scales/modes）作为即兴演奏的基础。这打开了一个全新的和声空间世界——更自由、更氛围化、不那样被快速和弦切换所束缚。调式爵士为六十年代自由爵士的完全打破边界铺平了道路。
The whole of Jazz music is sometimes divided into three categories or “streams”: First there was Traditional Jazz (quite formal) which could be seen as the opposite of the experimental, second stream: Modern Jazz. The third stream was reserved for the type of Jazz that was neither, but a merging between Classical Music (particularly Chamber music) and Jazz.

Experimentations between these two genres existed long before Modern Jazz, so it wasn’t until 1957 that composer Gunther Schuller coined this ambiguous term. The quest for coexistence between classical music and a popular genre that was partly defined in its non-classical properties (such as improvisation) proved to be a slippery slope. Third Stream Jazz is certainly not a strong subcultural movement, but more a collection of experimental Jazz songs over the course of time. Obviously Third Stream songs are more intricate with longer and deeper progression (thus “Progressive Jazz’) than other types of Jazz, but when the avant-garde of the sixties invented Free Jazz, Third Stream’s relevance shrunk to absolute zero. Now, classical composers could learn more from Jazz than the other way around.

As a response, Third Stream’s definition was broadened to include crossovers to World Music, yet it remains one of the lesser known Jazz genres. A different successor at the end of the fifties, Modal Jazz, improvises on a series of scales instead of chords. Like the “Math Rock of Jazz”, Modal Jazz is defined (solely) by its highly technical, rational and mathematical structure.
", "songlist": [ "An Image of Man - William Russo ⧸⧸ Luke Carbon, alto saxophone", "George Russell & Gunther Schuller - All About Rosie", "Eric Dolphy & John Lewis - The Stranger", "Modern Jazz Quartet - Exposure", "Paul Whiteman Changes", "Charles Tolliver - Mournin' Variations [post-bop jazz⧸third stream] (1975)", "4.Bulbs ⧸ Into the Hot ⧸ the Gil Evans Orchestra", "Stan Kenton - Solitaire - 1950 - Innovations in Modern Music" ], "playlistID": "PLb15rbk6I4pMEuBhxL2GY8z-3kQfDmQcb", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMEuBhxL2GY8z-3kQfDmQcb", "spotify-playlist-link": "https://open.spotify.com/playlist/7gbjhGCKymPwkHXKo3YtTl?si=S3WrrbmGTIy02GU13KCkPA", "name_zh": "前卫爵士 / 第三流派 & 调式爵士" }, "jaz05": { "name": "NEW ORLEANS & DIXIELAND JAZZ REVIVALS
新奥尔良/迪克西兰爵士复兴", "year": "1941", "supergenre-first-tag": "JAZZ", "description": "
随着时间的推移，最早期的爵士风格被认为已经过时——被遗弃为博物馆藏品。然而在四十年代，对早期传统的新兴趣引发了一场复兴运动。新奥尔良和迪克西兰爵士复兴重新发现了传统爵士乐的活力和历史重要性。\n\n这场复兴是由对爵士乐根源的新尊重以及对比波普（Bebop）日益智识化的一种反动所推动的。像 Lu Watters 和 Turk Murphy 这样的音乐家复活了早期新奥尔良的声音，向新观众证明了原始爵士乐仍然可以摇摆。这场复兴帮助确立了爵士乐历史意识——即其早期的风格不是被遗忘的阶段，而是值得尊重和研究的活传统。这种传统主义的脉络在后来的爵士乐中继续存在，确保了没有一个时代被完全抛弃。
New Orleans & Dixieland Revival is hardly a new genre, as the name implies. But - being listed in nearly every summary or genealogy of Jazz - its inclusion on the Carta is almost mandatory. Furthermore, the difference with the original genre is not zero. The success of Swing created a sort of nostalgia for early Jazz with small bands as many Jazz musicians were fed up with the predictable template of Big Band and its extravert performances. This back to the roots movement was almost strictly performed by white artists instead of the black bands of the original genre. Because of this minor racial difference Jazz became known by a much larger (white) audience, drawing many white aspirant players into Jazz and reviving the first “white Jazz”: Chicago Jazz. The New Orleans & Dixieland Revival is characterized by simple melodies and harmonies, another consequence of its backlash against Big Band Jazz.
", "songlist": [ "KEN COLYER JAZZMEN - Goin' Home", "Jazz Me Blues - Eddie Condon 1964.", "＂Margie＂ - Jim Cullum Jazz Band", "Lu Watters' Yerba Buena Jazz Band - Irish Black Bottom", "James Dapogny's Chicago Jazz Band - Caught (rare Fats Waller tune)", "Pete Fountain - Crazy", "Preservation Hall Jazz Band - St James Infirmary", "That Dada Strain - Bob Crosby and his Bobcats - 1942" ], "playlistID": "PLb15rbk6I4pPU4ogCJElJ6Yyl1HbgVCCR", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPU4ogCJElJ6Yyl1HbgVCCR", "spotify-playlist-link": "https://open.spotify.com/playlist/2EyRyEMKL44vRC2IyjshM1?si=Z-mu8Nn6T3iE5iMxo8rDPQ", "name_zh": "新奥尔良/迪克西兰爵士复兴" }, "jaz06": { "name": "BEBOP
比波普", "year": "1945", "supergenre-first-tag": "JAZZ", "description": "
增长过大的流派最终会衰落。二十世纪四十年代初，一群年轻的音乐家——主要是黑人——对摇摆乐的可预测性和商业化感到厌倦。他们在哈莱姆的 Minton's Playhouse 等场所进行夜间的即兴演奏会（jam sessions），在那里以令人目眩的速度演奏复杂的和弦进行（chord progressions），有效地创作出只有其他音乐人才能真正欣赏的音乐。\n\n比波普——得名于其拟声唱法（scat）的音节——是爵士乐变得严肃的时刻。Charlie Parker（中音萨克斯）和 Dizzy Gillespie（小号）是革命性的领袖——他们的演奏是音速的、棱角分明的、和声上大胆的。比波普标志着一个关键转折：爵士乐不再主要是跳舞音乐，而成为了聆听音乐——一种需要专注的真正艺术形式。Thelonious Monk 和 Bud Powell 重新定义了爵士钢琴，其影响超越了爵士乐，波及现代古典音乐。比波普是爵士乐为自己夺回的一个时刻——从娱乐者到艺术家。
Genres that grow too big eventually will fall. This was no different with Swing. Not only became it difficult to maintain such large, expensive orchestras, but more and more white people were copying the music. Though Jazz had always been less racially restricted than Blues, a number of black Jazz musicians felt a need to redefine black Jazz culture with a new, radical genre: Bebop. Their dissatisfaction is reflected in Bebop’s trademarks: frantic, chaotic and aggressive.

Bebop (or simply “Bop”) is one of the most revolutionary types of Jazz (and music). Why? Because it makes the music faster by making it slower. How? By stretching (thus slowing down) the tempo, a lot of silent gaps opened up between the beats. This free space could be filled in freely (improvised) with drum rolls, rhythmic breaks and superfast, harmonic melodies, usually in vibrato. Musicians also regularly imitate trumpet solos with their voice, leading to a new, fast singing technique called “scatting”. The word “bebop” itself comes from scatting, as it is as an often used onomatopoeia. The difference between Jazz from the past was so huge, that people eventually coined the term “Modern Jazz”, which later also included other experimental genres such as Hard Bop and Free Jazz.

Many wannabe Bebop musicians went downhill because they wrongly believed that heroin, which was very cheap during the forties, was an inherent part of Jazz culture. Their personal but also social problems (racism) illustrate the dark side of Bebop. This was no happy music, but the psychotic screams of struggling musicians, who didn’t care whether you loved or hated their music.

Around 1982, Bebop experiences a strong revival known as Neobop (or sometimes called Neo-Con (= conservative) Jazz). A lot of young Jazz scholars were not interested in the new possibilities of Fusion, and chose to concentrate on the old school (with influences from Free and Modal Jazz): straight, acoustic Jazz but rich and vibrant. A type of Jazz where they could show off their technical skills that would otherwise have been masked by the eclecticism of Fusion.
", "songlist": [ "Dizzy Gillespie feat. Charlie Parker - A Night In Tunisia", "Charlie Parker - ＂Groovin' High＂", "'Round Midnight - Thelonious Monk (1947)", "Dexter Gordon Lady Bird", "Kenny Clarke Group - No Details", "Max Roach - Cherokee", "Fats Navarro - Ko Ko", "Roy Haynes Trio - Reflection", "Babs Gonzales - Professor Bop" ], "playlistID": "PLb15rbk6I4pObUsIJyf1HJkoqHE7EZU40", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pObUsIJyf1HJkoqHE7EZU40", "spotify-playlist-link": "https://open.spotify.com/playlist/6ZfwuKsKtfi8BeEMDy5nHa?si=2_oQEGMoRVCi15fbBWwTJQ", "name_zh": "比波普" }, "jaz07": { "name": "COOL JAZZ & WEST COAST JAZZ
冷爵士 & 西海岸爵士", "year": "1950", "supergenre-first-tag": "JAZZ", "description": "
在比波普那火热、紧张的强度之后，一种反向运动是不可避免的。冷爵士（Cool Jazz）——主要在加利福尼亚发展——作为一种更放松、更抒情的选择出现。它以更柔和、更克制的音色、更从容的节奏以及对编曲和氛围的关注超过独奏者的精湛技艺为特征。\n\nMiles Davis——总是走在前列——用他的专辑《Birth of the Cool》（1949—1950年录制）帮助开创了冷爵士。西海岸爵士是加州的变体，由 Gerry Mulligan、Chet Baker 和 Dave Brubeck 等艺术家领衔——更明亮、更阳光，有时融入了古典对位法。冷爵士代表了爵士乐从独奏的激烈向空间与微妙之美的回归。Miles Davis 自己会在十年后以《Kind of Blue》重新定义冷爵士——证明克制与沉默可以像任何高音萨克斯独奏一样深刻。
Cool Jazz is an evolution of Bebop, where the music is approached in a more rational, reserved and calculated manner: in a “cool way”. “Keeping cool” was an important part of the spirit of the fifties, after all. Cool Jazz emphasizes sound, trying to make each note as crisp and clean as possible by providing high contrast in frequency and tempo between its different sections. The use of counterpoint is common as well. Furthermore, the autonomy of notes is being stressed through solos (often many different solos at the same time). Overall, the genre appears as a lightweight and relaxed form of Jazz, yet heavily structured and complex, reminding of Classical music (which was a big source of inspiration). The perfect habitat for this smooth, calm type of Bebop is the laidback west coast of the US, which developed its own type of “Cool”: West Coast Jazz. Cool Jazz is mostly performed by white artists, with more influences from “white music” such as classical music. The genre experienced an early demise, lacking the passion and emotion of other (black) Jazz genres. Be that as it may, Cool Jazz remains the stereotypical background music for sophisticated jazz bars where intellectuals hold philosophical conversations till the wee hours of the morning.
", "songlist": [ "Dave Brubeck - Take Five ( Original Video)", "Chet Baker - But Not For Me", "Stan Getz - Autumn leaves", "There's A Small Hotel", "Softly As In A Morning Sunrise (RVG Remaster 2008)", "Stan Kenton Rhapsody in Blue", "Mel Lewis Septet - In a Mellow Tone", "Chico Hamilton Quintet - Beanstalk", "Gerry Mulligan - Night Lights" ], "playlistID": "PLb15rbk6I4pNKvYqs9U6s7lkk2wfv7VuS", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNKvYqs9U6s7lkk2wfv7VuS", "spotify-playlist-link": "https://open.spotify.com/playlist/4Q195I5eyyUHbiqtVxcAZr?si=xQQyuE2TRIyiRqz9otzqog", "name_zh": "冷爵士 & 西海岸爵士" }, "jaz08": { "name": "HARD BOP
硬波普", "year": "1953", "supergenre-first-tag": "JAZZ", "description": "
硬波普（Hard Bop）是东海岸对冷爵士的回应——在本质上是对蓝调和福音根源的回归，同时保持了比波普的和声复杂性。它保留了比波普的快速速度和复杂的和弦进行，但添加了一个更沉重、更灵魂化的律动，并且更强调蓝调和简单的旋律。\n\n硬波普出现于五十年代中期，以 Art Blakey and the Jazz Messengers 为主要堡垒——这个乐队成为了几代爵士音乐家的训练场。Horace Silver 的作品将放克节奏与福音感觉融合，创造了如今可辨识的硬波普基石。像 Clifford Brown（小号）和 Sonny Rollins（萨克斯）这样的独奏家代表了硬波普中纯粹的精湛技艺，而不失可及性。硬波普是蓝调民粹主义与比波普智识主义之间的平衡——可能处于爵士乐的最佳位置。
In an attempt to take back Jazz listeners that had turned to R&B, many (east coast) Bebop musicians changed their sound into something more accessible: Hardbop. Hardbop is a more modern evolution of Bebop, but not particularly “harder”, despite the term. The music is smoothened out and more emphasis is being put on the rhythm. The “Cool School” of the west coast had also provoked a certain disdain by Bebop players, with its exaggerated rationalism and lack of pathos. Hardbop formed the emotional answer but it in a very basic and gentle manner and not chaotic at all. Alongside these influences, the arrival of longplay records (at 33rpm) allowed for longer songs and longer solos. Numerous alternating solos and chords (of different instruments, sometimes even bass and drums) are being played in a call and response manner. Hardbop is played by small ensembles and is often described as heaving a more “bodied” or “textured” sound. Since its inception, Hardbop has been the dominant genre in Jazz. When Jazz is performed in Jazz bars or performances, it is highly likely to be Hardbop. There are two Hardbop subgenres: Funky Jazz (simple, with bluesy sound) and Mainstream Hardbop (more complex, closer related to Bebop).
", "songlist": [ "Horace Silver - Song for My Father", "John Coltrane - Blue train", "Art Blakey & the Jazz Messengers - Moanin'", "Wes Montgomery - Round Midnight", "CHarles Mingus - Devils Blues", "Some Time Ago", "The Cannonball Adderley Quintet - Work Song Version 1", "Lee Morgan - The Sidewinder", "Sonny Rollins - The most beautiful girl in the world" ], "playlistID": "PLb15rbk6I4pOo6CrrLcPAWQaBL7G7FtR6", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOo6CrrLcPAWQaBL7G7FtR6", "spotify-playlist-link": "https://open.spotify.com/playlist/4XKwedZL0uMJ6B9QxLSG0e?si=g6BHMzS2R1qpr_r4pgbMSQ", "name_zh": "硬波普" }, "jaz09": { "name": "SOUL JAZZ / JAZZ FUNK
灵魂爵士 / 爵士放克", "year": "1957", "supergenre-first-tag": "JAZZ", "supergenre-second-tag": [ "slave", "(r & b)" ], "description": "
灵魂爵士（Soul Jazz）正如其名所暗示的：放克和福音的音乐元素被添加到爵士乐中——结果是一种深深律动、流行导向的爵士乐风格，可以在当时新兴的 R&B 电台上获得播放。它代表了爵士乐对不断变化的黑人流行音乐景观的有意识适应。\n\nHammond B-3 管风琴是灵魂爵士的中心乐器，由 Jimmy Smith 和\"Brother\" Jack McDuff 等艺术家赋予传奇地位——它的嗡鸣和旋转定义了整个场景。爵士放克（Jazz Funk）是同一个硬币的另一面——更注重节奏而非和声，用爵士乐器演奏放克节奏。像 The Crusaders 和 Donald Byrd 这样的乐队将复杂的爵士和声与舞蹈性的律动结合，证明爵士乐仍然可以打入流行音乐排行榜。灵魂爵士有时被纯粹主义者轻视，但在流行化爵士乐方面取得了巨大成功——为七十年代融合爵士（Fusion）的全面放克爆发铺平了道路。
Soul Jazz is one of the smallest genres of Jazz. In fact it can be seen as an overlapping subgenre of Hard Bop. Its influence is extremely important however, leading directly to Funk (hence the alias Jazz Funk). As an eclectic, heavily R&B-influenced type of Jazz, it’s sometimes very hard to separate Soul Jazz from Fusion or Soul Blues, especially later recordings. Soul Jazz is music for a small Bebop band, with the addition of more rare Jazz instruments such as (Hammond) organs and tenor saxophones. These instruments create a thematic, smooth, relaxing sound that indulges the listener in a feeling of warmth and comfort.

Soul Jazz was created for a young, urban target audience that felt less connected with the more complex and chaotic styles of Jazz. The plain, downtempo, rhythmic melodies were easy to get into. Likewise was a continuous, repetitive bassline on the foreground, like a primitive version of the Funk groove. But most importantly is Jazz Funk’s credit as a forerunner of black civil rights in the US, alongside Modern Gospel. The alarming amount of white artists within West Coast Jazz circles, created a backlash of black artists taking up Jazz careers.
", "songlist": [ "BOBBI HUMPHREY - Smiling Faces Sometimes - 1972 Blue Note", "Cannonball Adderley Quintet - Walk Tall", "Alligator Bogaloo", "Acid, Pot Or Pills", "Living Soul", "Stanley Turrentine - Sunshine Alley", "411 West", "Straight From The Gate", "Knucklehead" ], "playlistID": "PLb15rbk6I4pOXYTGUxe0aOxtWfHgVrgZn", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOXYTGUxe0aOxtWfHgVrgZn", "spotify-playlist-link": "https://open.spotify.com/playlist/2cATMj4HUEHvPhswaRtECj?si=H06SP53FQHesRh_8go1wfw", "name_zh": "灵魂爵士 / 爵士放克" }, "jaz10": { "name": "FREE JAZZ / AVANT-GARDE (JAZZ)
自由爵士 / 先锋爵士", "year": "1959", "supergenre-first-tag": "JAZZ", "description": "
自由爵士（Free Jazz）是一声纯粹的呐喊——音乐的平等，即兴演奏的民主化。它系统性地拒绝所有先前爵士音乐传统的元素：没有预设的和弦进行，没有预设的节奏，没有预设的旋律。音乐家在音乐当下的一切都自发地发生——直觉是唯一的指南。\n\nOrnette Coleman 1961 年的专辑《Free Jazz》给予了这一流派名称和一个宣言。Cecil Taylor 将钢琴转化为打击乐和声场，而 Albert Ayler 则将萨克斯推到令人尖叫的极端——一种原始的表现主义。John Coltrane 在他的后期作品——《Ascension》和《Interstellar Space》——中进入了自由爵士领域，但总是带着深刻的精神性。\n\n先锋爵士（Avant-Garde Jazz）是一个相关的术语，强调这种音乐的探索性、艺术性而非纯粹的情感宣泄。很多观众觉得自由爵士难以接近——然而它的影响力遍布现代古典音乐和后来的前卫摇滚。自由爵士是爵士乐自我毁灭和重生的时刻——证明一旦所有规则被打破，唯一剩下的就是探索本身。
After the invention of Bebop on one hand and long play records on the other, the road lay open for highly experimental Jazz. Long, complex songs with lots of sound effects painted an impressionistic soundscape. Group improvisation was more important than ever, with Jazz bands playing seamlessly endless songs of which no-one knew how it was going to end. The Jazz player was set free from any rule or form: primal, freeform Jazz known as Free Jazz or even Avant Garde (Jazz) due to its highly experimental nature. Crossover experimentation emerged in the form of fusion subgenres such as World Bop (with world music) and M-base (with Funk).

Although Free Jazz already emerges around ’59, the accumulation of negative events in the sixties greatly shapes the genre (murder on JFK, Vietnam War, civil rights movement). American musicians responded to these events with atonal Jazz, based on sound experimenting and abstract structures. Amphetamine use infiltrated the world of Jazz as well, allowing for an even faster and more relentless kind of play. With no regular rhythm, no harmony and a large amount of speed, Free Jazz feels more chaotic than almost any other music genre. It is the musical translation of powerless screaming - shrills uttered without defense in a world that made no sense.
", "songlist": [ "Sun Ra Space is the Place 1973", "Ornette Coleman - Lonely Woman", "Ghosts", "Pharoah Sanders - Astral Travelling", "Cecil Taylor - Lena", "Roland Kirk Serenade To A Cuckoo 1972", "Peanut", "Anthony Braxton - Impressions", "Archie Shepp - Hipnosis" ], "playlistID": "PLb15rbk6I4pOn6VfZaFpbNnhPVvn2rIcv", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOn6VfZaFpbNnhPVvn2rIcv", "spotify-playlist-link": "https://open.spotify.com/playlist/3cNda5404L2X8T88YAUzHM?si=2Sa9UoWxRdC5eZvsth9cow", "name_zh": "自由爵士 / 先锋爵士" }, "jaz11": { "name": "FUSION / JAZZ ROCK
融合爵士 / 爵士摇滚", "year": "1970", "supergenre-first-tag": "JAZZ", "supergenre-second-tag": [ "slave", "(r & b)" ], "description": "
融合爵士（Fusion / Jazz Rock）代表了两个世界的碰撞：爵士乐的和声与即兴复杂性，加上摇滚乐的强力扩音和放克音乐的厚重律动。在六十年代末，摇滚乐吸引了庞大的年轻观众，而爵士乐正在失去商业势头。融合爵士是一种有意识的应对——通过采用摇滚乐的音量、能量和电声乐器配置来重新夺回听众。\n\nMiles Davis——再次引领——用《In a Silent Way》和《Bitches Brew》打开了大门，创造了广阔、氛围化的录音，将即兴演奏与录音室制作融合。他的前乐队成员组建了七十年代最重要的融合乐队：Weather Report（Joe Zawinul 和 Wayne Shorter），Return to Forever（Chick Corea），以及 Mahavishnu Orchestra（John McLaughlin）。融合爵士以其精湛的技艺达到巅峰，而评论家认为它放弃爵士乐的灵魂来换取摇滚乐的音量——但它无疑将爵士乐重新带回了青年文化。像 Herbie Hancock 的《Headhunters》这样更重放克的分支进一步模糊了界限。
Acoustic traditional Jazz (also called Straight Jazz) reached its saturation point at the end of the sixties: due to its experimental nature almost every genre was already invented. Jazz had to cross over into the territories of the hottest music of the time: Funk for example, but mainly Rock. This powerful reinvention became so popular and well-spread, with many derivative genres, that it simply was called “Fusion”, although Jazz Rock is also a correct term. Fusion fuses traditional Jazz melody and rhythm and Jazz elements such as improvisation and complex interplay with Rock instruments (electric guitars, basses, synth), amplification, and simple harmonies.

The main structure was similar to Free Jazz, as once again, Fusion was invented by Miles Davis (who invented four different Jazz genres throughout his career). Rock influences came mostly from Acid Rock, although Fusion artists were also interested in Progressive Rock and during the seventies, there was quite some overlapping between Prog Rock of that time and Fusion. Jazz Rock marked the end of a Jazz Era (Modern Jazz) and the beginning of a new one (electronic Jazz or Post-Jazz).
", "songlist": [ "Miles Davis - Bitches Brew", "Herbie Hancock - Chameleon", "Weather Report - Birdland (Heavy Weather - Legacy Project Official)", "Stratus", "Sorceress (Instrumental)", "Tony Williams Lifetime - Sweet Revenge(1976)", "Stanley Clarke - School Days HQ", "Chick Corea - Dance of Chance", "Frank Zappa-Apostrophe'" ], "playlistID": "PLb15rbk6I4pOamTZeSL6Y1or34ZAnMRNw", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOamTZeSL6Y1or34ZAnMRNw", "spotify-playlist-link": "https://open.spotify.com/playlist/3kC70XmG041Nu5rjnoX855?si=ckmSLstKTgyj6A-a8Jc_xA", "name_zh": "融合爵士 / 爵士摇滚" }, "jaz12": { "name": "SMOOTH JAZZ
柔顺爵士", "year": "1975", "supergenre-first-tag": "JAZZ", "supergenre-second-tag": [ "slave", "(pop)" ], "description": "
柔顺爵士（Smooth Jazz）是爵士乐为了重返流行排行榜而不惜一切代价所做的尝试。柔顺爵士在八十年代蓬勃发展，以优美的旋律、轻快的节奏和压倒性的收音机友好氛围为特征——去除了爵士乐中所有困难的部分。\n\nKenny G 成为柔顺爵士中商业上最成功的艺术家——通常也是最受诟病的。Grover Washington Jr. 拥有更多的爵士可信度，但仍然取得了跨界热门的成绩。评论家认为柔顺爵士是爵士乐的企业化稀释——爵士乐变成了电梯音乐。然而听众以数百万计地购买它，而那些从未听过John Coltrane 的人们因此而进入了爵士乐大门。柔顺爵士代表了爵士乐身份最深的分裂线——什么是真正的音乐，什么是为销售而制作——这个问题至今仍无定论。
The Jazz era after Fusion - also known as Post-Fusion, Post-Jazz, or Freebop – had to deal with the growing popularity and commercial approach of R&B, particularly Disco. As such, an offshoot of Fusion known as Smooth Jazz, became the favorite puppet of Jazz-related record companies, more profit-fixated than before. Experimentality became replaced by radio friendly, easy-listening music. Smooth Jazz aka Pop Jazz is supposed to sell - en large - with a slick, heavily produced and of course smooth sound. Jazz’s commercial direction is a striking part of the seventies “me generation”, where capitalist yuppies replaced naïve hippes. Of all different Jazz genres, it’s one of the plainest, with only one or two instruments playing melodies. Often there’s a saxophone, which is characteristic for Smooth Jazz’s (unintentional) erotic connotation: the music genre was a staple in erotic films or scenes during the late seventies and early eighties. After this period, Smooth Jazz also sparked reinterest in soft Pop music and paved the way for New Adult Contemporary (N.A.C). Critics, especially fans of classic and complex Jazz genres like Bop, describe Smooth Jazz as cheesy and predictable. Derogatory genre names like “Fuzak” and “Hot Tub Jazz” (New Age Jazz) reassert their opinions, while also holding a certain ground. After all, Smooth Jazz is often catered as background music for bars or restaurants or just to relax at home. Be that as it may, its overall popularity is still significant, because it delivers exactly what it promises: Easy-Listening.
", "songlist": [ "Kenny G - The Moment (Official Video)", "George Benson - Nothing's Gonna Change (Original)", "The Yellowjackets - 01 - ＂Spirit of the west＂", "Larry Carlton - Room335", "Spyro Gyra - Morning Dance (Official Audio)", "Dave Grusin - Mountain Dance", "David Sanborn - Straight To The Heart (High Quality)", "The Rippingtons ・ Moonlighting", "Najee - Tokyo Blue", "David A. Stewart - Lily Was Here ft. Candy Dulfer" ], "playlistID": "PLb15rbk6I4pMXkZDdkmrkT8vBtIhiPHEf", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMXkZDdkmrkT8vBtIhiPHEf", "spotify-playlist-link": "https://open.spotify.com/playlist/586HXNFZn0FSJCHNn8njmj?si=PsrmVlACSzWZMdYrS4OuvA", "name_zh": "柔顺爵士" }, "jaz14": { "name": "ACID JAZZ / JAZZDANCE
酸性爵士 / 爵士舞曲", "year": "1988", "supergenre-first-tag": "JAZZ", "supergenre-second-tag": [ "slave", "(breakbeat)" ], "description": "
酸性爵士（Acid Jazz）中的\"Acid\"不一定指药物——它指的是这种音乐的酸涩和锐利。酸性爵士出现于八十年代的英国俱乐部场景，将七十年代的放克和爵士节奏与嘻哈节拍和电子制作结合。这是一种复古未来主义的融合：旧爵士录音被采样并赋予新的嘻哈节拍，而现场乐队则用爵士乐器演奏放克律动。\n\n像 Jamiroquai、The Brand New Heavies 和 Incognito 这样的乐队领导了这场运动。酸性爵士的核心能量是关于律动的——将爵士乐的即兴精神带回舞池，尽管是以完全现代的形式。爵士舞曲（Jazzdance）是其更俱乐部导向的分支。酸性爵士是爵士乐被俱乐部文化收复的时刻——证明有机的、现场演奏的放克仍然可以与电子舞曲竞争。
Acid Jazz is a crossover genre gone too far: there is barely any Jazz left in it. There’s actually almost zero ‘acid’ about it as well, except a slight psychedelic sound, placing it high on the chart for poorly chosen genre names. In fact it’s more of the deepest funky Fusion combined with Rap, so Fusion Rap would be more appropriate. But the name is no error: Acid Jazz was a deliberate and firm reaction from the British Soul scene against the fiddling “nonsense” of Acid House. The leading record label – also named Acid Jazz – was determined to compensate Acid House with what they regarded as “quality music”, heavily influenced by Rare Groove records.

A steady Hip-Hop breakbeat, lots of percussion, Jazz harmonies and funky basslines (often with the aid of a synthesizer) are the key flavors of Acid Jazz. These elements blend perfectly until the roots of the genre are no longer traceable. It was a short but popular craze, right before EDM conquered the music scene. Due to its highly danceable nature, a new type of dance, Jazzdance, was invented along with it (which became more or less a synonym of the music itself). It can be hard to separate Acid Jazz from Jazz Funk with heavy breaks, if it wasn’t for the (abundant) use of vocals.
", "songlist": [ "THE BRAND NEW HEAVIES - Never Stop", "Jamiroquai - Virtual Insanity (Official Video)", "The James Taylor Quartet - Stepping into my life", "Groove Collective - Lift Off", "Galliano So Much Confusion", "M People - Moving on Up (Official Video)", "Us3 - Cantaloop (Flip Fantasia) ft. Rahsaan, Gerard Presencer", "incognito Colibri", "Max Sedgley 'Happy'" ], "playlistID": "PLb15rbk6I4pNd0RT1kSRa54bTT8TtvVWv", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNd0RT1kSRa54bTT8TtvVWv", "spotify-playlist-link": "https://open.spotify.com/playlist/0pybhXs2o4ZFWS91O9U9qI?si=Tj1mHsACTHyVp4WyGzqZTw", "name_zh": "酸性爵士 / 爵士舞曲" }, "jaz15": { "name": "NU JAZZ / ELECTRO JAZZ
新爵士 / 电子爵士", "year": "1995", "supergenre-first-tag": "JAZZ", "supergenre-second-tag": [ "slave", "(downtempo)" ], "description": "
新爵士（Nu Jazz）和电子爵士（Electro Jazz）代表了爵士乐与新千年的相遇——爵士乐的即兴演奏和和声敏感性现在通过电子制作进行过滤。与酸性爵士的复古采样方法不同，新爵士和电子爵士常常是当代创作——现场爵士乐器与电子节拍、合成器纹理和数字工作室技术融合。\n\n像 Nils Petter Molvær（挪威小号手）和 Bugge Wesseltoft 这样的艺术家将北欧爵士的极简主义与电子音乐结合。Jaga Jazzist 是一个挪威集体，他们结合了大型合奏和电子元素——证明了这种融合不必是小规模的。电子爵士既是爵士乐又是电子音乐——一个试图探索真正融合而非简单并置的边界空间。它代表了流派边界持续消解中的一个迷人前沿。
During summer afternoons or evenings, in picturesque metropolitan suburbs (such as Saint-Germain, Paris), Nu-Jazz would be the ideal background music for any café terrace or coffee bar. It is electronic, melodic, playful Jazz with lots of soothing, ambient sound effects that wash over the gentle Jazz percussion like a warm summer breeze. Being made entirely electronic, it marked the end of the traditional Jazz band. All Jazz music from Nu-Jazz and forward – dominantly electronic and often home produced like EDM – is conjoined under the portmanteau “Future Jazz”. Future Jazz succeeded where contemporary Blues failed: renewing Jazz in the 21st century.

Nu Jazz, also known as Jazztronica, Phusion or Electro Jazz, can have a broad range of influences, such as deep basses from Ambient House or Deep House, groovy drum rhythms from Breakbeat, and exotic percussion from Latin genres. This makes Nu-Jazz a core genre (or the) of the second or electronic wave of Lounge, and it’s easily mistaken for Broken Beats or other Lounge genres. But these influences are subtle enough to not masquerade the fact that it truly is Jazz. Nevertheless, Nu-Jazz differs radically from older Jazz genres in means of production (solo and recorded versus live and in band) and its electronic sound. Hence, most Jazz enthusiasts regard Nu-Jazz rather as a rupture instead of a continuation within Jazz and encourage its classification among non-Jazz genres (Lounge, House, Breakbeat, Downtempo…). But in the realm of music, tradition is a bad advisor for survival.
", "songlist": [ "St Germain - Sure Thing [Official Music Video]", "Jazzanova - Bohemian Sunset", "Llorca - My Precious Thing", "Godsdog", "Trüby Trio - High Jazz", "Alexkid - Love we Have (Original mix)", "DJ Cam Quartet - Rebirth of Cool", "Marc Moulin - Into The Dark", "Grand Tourism feat. Terry Callier - Les Courants D'Air" ], "playlistID": "PLb15rbk6I4pPcl86zCP7WLBM9YDL4eWnb", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPcl86zCP7WLBM9YDL4eWnb", "spotify-playlist-link": "https://open.spotify.com/playlist/2ZOoBALhmB6TAYIs93mxFP?si=S9WJMyHLS1GRq8eF8CslFw", "name_zh": "新爵士 / 电子爵士" }, "jaz16": { "name": "NORDIC JAZZ
北欧爵士", "year": "2001", "supergenre-first-tag": "JAZZ", "description": "
北欧爵士（Nordic Jazz）正如其名——来自斯堪的纳维亚的爵士乐。但定义它的不是地理位置，而是美学：一种独特的极简主义和空间感，由漫长的黑夜和广阔的风景塑造。北欧爵士以缓慢的节奏、稀疏的编曲和一种忧郁的、近乎冥想的氛围为特征。\n\nJan Garbarek（挪威萨克斯手）在欧洲 ECM 厂牌上以其冰冷、无颤音的音色定义了早期北欧爵士美学。Esbjörn Svensson Trio（E.S.T.）将北欧极简主义与摇滚能量结合，取得了巨大的国际成功。北欧爵士将沉默和空间视为与声音同等重要的工具——证明了力度和克制可以同样有力。北欧爵士代表了爵士乐在全球范围内最重要的区域适配之一——证明爵士乐可以用任何口音说话。
The final chapter of Jazz is a shrouded one, rarely recognized as a defined genre. However, Nordic Jazz – the title of this chapter – deserves more recognition than it currently receives. During the seventies and afterwards, many American Jazz musicians hit financial rock bottom and were forced to flee to Europe. Especially in countries with a colder climate (such as Poland and Scandinavian ones) Jazz nightlife flourished well. As a result, Nordic countries already had a sustained culture of Jazz by the turn of the century, yet mainstream popularity stayed off. Because Jazz thrives stronger in these countries, Jazz education is also different and more extensive than the rest of Europe. Fresh classes of graduates attain critical acclaim each year, if – and this is a big if – they succeed in reaching national, let alone international, attention. Because more often than not, Scandinavian Jazz artists are so poor they cannot afford any publicity, leaving them in the shadows of anonymity. Nordic Jazz might seem vague, but artists share a number of common characteristics: gentle, ambient sounds, with slight, subtle influences from classical and world music.
", "songlist": [ "E.S.T. - Esbjörn Svensson Trio - 'Round Midnight (Official)", "Morning Heavy Song", "Mathias Eick - Arvo", "Black Motor - Pispala jazz (video Jyrki Kallio)", "Jan Garbarek - Twelve Moons (Garbarek)", "Conspiracy", "Where Breathing Starts (feat. Tord Gustavsen)", "Arild Andersen - Anima" ], "playlistID": "PLb15rbk6I4pNK2YZ_XyYDO85NUpn2Q2q5", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNK2YZ_XyYDO85NUpn2Q2q5", "spotify-playlist-link": "https://open.spotify.com/playlist/4UL391vg7ArLVSqnOQnL13?si=CQumzImITKiIdsdiHxRGFQ", "name_zh": "北欧爵士" }, "jaz17": { "name": "ELECTRO SWING
电子摇摆", "year": "2008", "supergenre-first-tag": "JAZZ", "supergenre-second-tag": [ "slave", "(house)" ], "description": "
电子摇摆（Electro Swing）是一种充满欢乐而无耻的混合——将摇摆乐的年代感与浩室音乐的驱动性电子节拍结合。电子摇摆出现于二十一世纪早期，利用现代制作技术将旧唱片采样并制作成舞池热门曲目。\n\n像 Caravan Palace 和 Parov Stelar 这样的乐队领导了这场运动——他们的声音是一种复古的爆炸，采样了尖锐的号声和摇摆的低音线，然后压缩成电子乐的模式，以四拍地板节拍驱动。这是经典美国摇摆乐在数字时代的复兴——针对那些从未见过大乐队但凭直觉理解其律动的一代人。纯粹主义者可能不赞同，但电子摇摆的不可抗拒的能量是不可否认的——它是证明旧音乐可以在现代舞池中找到新生命的终极证据。
Music history likes to repeat itself: after the financial crisis of 2008, Swing proved to be once more the pre-eminently escapist genre, just like it was during the Great Depression. Not only the music, but many aspects of the prewar-era of the thirties started to gain a renewed interest at the dawn of the ‘tens’: fashion, TV-series, dance, and of course music. Especially Swing dance and Lindy Hop courses and parties experienced a sharp rise. The optimistic genre of Swing received a small revival, but one that was clearly a different genre (not to mention a time window of nearly eighty years). The “electrifying” floodwave of Electropop and Electrohouse finally got a hold of Jazz. Certain solo EDM DJ’s took an interest in Big Band Jazz, recreating the original sound with electronic means and intermitting sounds, which makes it sound somewhat sharper, syncopated and chopped (like breakbeat). Electro Swing is sometimes regarded as a subgenre of Electro Jazz, but the two are fairly different. However, a certain degree of overlapping (also with related Loungetronica genres) should come as no surprise.
", "songlist": [ "Gramophonedzie - Why Don't You (Official Video)", "Yolanda Be Cool & DCUP - We No Speak Americano (Official Video)", "Parov Stelar - Booty Swing", "Caravan Palace - Lone Digger (Official MV)", "The Real Tuesday Weld - Kix", "Mr Scruff - Get a Move On - Official Video", "Waldeck - Memories (Lyrics)", "Washington Square - The Correspondents", "Caro Emerald - Tangled Up (Official Video)", "Princess Crocodile" ], "playlistID": "PLb15rbk6I4pM0sAtj4FEoV5xxLchXIpsN", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM0sAtj4FEoV5xxLchXIpsN", "spotify-playlist-link": "https://open.spotify.com/playlist/4iGAQjMCBHN4CXXWgChEqt?si=6S2hS3LvTC-svzSQ1dIpLQ", "name_zh": "电子摇摆" }, "jam01": { "name": "MENTO
曼托", "year": "1951", "supergenre-first-tag": "JAMAICAN", "description": "
所有牙买加音乐当然不是凭空出现的。岛上早已存在悠久而多样的（欧洲和非洲）民谣音乐文化。这缓慢地导致了第一个真正的流行音乐流派：Mento。Mento主要是卡利普索（Calypso，一种来自特立尼达和多巴哥的拉丁流派）加上R&B影响。因为牙买加是美国、拉丁和其他音乐的交汇点，Mento以大量各种各样的乐器为特征，听起来比和谐更具混沌感。然而最重要的是独特的歌词；歌手不唱歌，而是在音乐之上以有节奏和即兴的方式说话，这被称为Toasting（祝词）。这些toasts后来对说唱（Rap）和鼓打贝斯（Drum 'n' Bass）产生了重大影响。\n\nMento可以被视为一种民谣音乐流派而非流行音乐流派，但作为开创性的牙买加音乐流派，将其列入是有道理的。Mento艺术家喜欢认为自己是贵族的一部分，因为该国在五十年代仍是英国殖民地。这体现在王子、领主、伯爵、公爵和国王等贵族头衔中，这成为牙买加音乐的一种传统。Mento之后，基于新奥尔良的R&B类型Bluebeat将牙买加音乐推向了新的方向。
All Jamaican music didn’t just appear out of thin air of course. A long and diverse culture of (European and African) Folk music already existed on the Island. This slowly led to the first real popular music genre: Mento. Mento was mostly Calypso (a Latin genre from Trinidad & Tobago) with R&B influences. Because Jamaica forms a junction between American, Latin and other music, Mento featured a whole plethora of different instruments, sounding more chaotic than harmonic. The most important thing however, were the unique lyrics; singers didn’t sing but spoke in a rhythmical and improvised way on top of the music, which was called “Toasting”. These “toasts” would much later be a major influence on Rap and Drum ‘n’ Bass. Mento can be regarded as a Folk music genre instead of a popular one, but being the pioneering Jamaican music genre, it makes sense to include it. Mento artists liked to think of themselves as a part of aristocracy, because the country was still a British colony in the fifties. This is shown in nobility titles such as Prince, Lord, Count, Duke, and King, which became a bit of a tradition in Jamaican music. After Mento, “Bluebeat”, a New Orleans based type of Rhythm ‘n’ Blues named after a record company, paves the way for Ska.
", "songlist": [ "Day O (Banana Boat Song)", "Etheopia [10 inch] - Lord Lebby and The Jamaican Calypsonians", "Lord Christo ＂Last Night the Landlord Nearly Kill me＂ (1956)", "The Little Fly [10 inch] - Lord Fly and His Orchestra", "Naughty Little Flea - Lord Flea and his Calypsonians", "Lord Composer - Hill and Gully Ride, Mandeville Road (Jamaica)", "Louise Bennett - Day Dah Light", "Count Lasher's Calypso Quintet- Water the Garden", "Laurel Aitken - Nebuchadnezzar" ], "playlistID": "PLb15rbk6I4pPZFABwbV0VlyUjU8ZMPK4w", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPZFABwbV0VlyUjU8ZMPK4w", "spotify-playlist-link": "https://open.spotify.com/playlist/1NgSwJeJfkoBVtstKI0Pc1?si=WtF641u6Ro2tNDYMVHZZaA", "name_zh": "曼托" }, "jam02": { "name": "SKA
斯卡", "year": "1960", "supergenre-first-tag": "JAMAICAN", "description": "
斯卡（Ska）真正将牙买加音乐场景带上了版图。最近的美国城市新奥尔良将其自己的R&B版本（Bluebeat）带到了岛上，在那里声音被彻底改变。回声等声音效果以及唱盘和音响系统（sound systems，例如著名的Channel 1和Cocksone Campbell系统）等先进电子乐器使这成为可能。Bluebeat的R&B节奏被进行曲节拍所伴随，这是来自摇滚乐的影响。尽管有（非洲）人声，斯卡（像许多牙买加音乐一样）更多是关于声音和感觉：乐观、宁静与平和。幸福的爵士式riff、号角和断奏吉他是实现这一目标的主要工具。\n\n斯卡也以其大型铜管乐团（10-20人）主导音乐而闻名，而贝斯则相当简单，强调反拍。当底特律灵魂乐和费城灵魂乐开始超越新奥尔良灵魂乐和新奥尔良蓝调时，斯卡经历了急剧的上升，因为热爱新月城音乐的牙买加公众被迫自己接管。这与1962年牙买加独立同时发生，为创造独特的民族音乐提供了巨大机遇。斯卡也催生了一种称为Rude Boys的青年亚文化。代表艺人包括The Skatalites、Prince Buster、Desmond Dekker以及Toots & the Maytals。
Ska really put the Jamaican music scene on the map. The nearest American city, New Orleans, brought its own version of R&B (Bluebeat) to the island where the sound was drastically changed. Sound effects like echos and advanced electronic instruments like turntables and sound systems (e.g. the famous Channel 1 and Cocksone Campbell systems) made this possible. The R&B rhythm of Bluebeat became accompanied by a marching beat, an influence from Rock 'n' Roll. Although there are (African) vocals, Ska (like a lot of Jamaican music) is more about the sound and feeling: optimistic, serene and peaceful. Blissful Jazzy riffs, horns and staccato guitars are the main tools to achieve this. Ska is also known for its large brass orchestras (10-20 people) dominating the music, whereas bass is rather simplistic with accent on the offbeat.

When Detroit Soul and Philly Soul started to eclipse New Orleans Soul (Southern Soul) and New Orleans Blues, Ska experienced a sharp rise, as the Jamaican public - fond of the Crescent City’s music - was forced to take matters in their own hands. This happens simultaneously with the independence of Jamaica in 1962, providing a tremendous opportunity to create a unique and national sound for a new country. Ska becomes a huge success, accompanied by its own jagged, hyperactive type of dancing: Skank. With two subsequent and important ska-revivals (abroad), skank also receives an overhaul and gets picked up later by Hardcore Punk & Jump Up. For the sake of clarity, this genre is therefore pinpointed as the first wave of Ska or Jamaican Ska.
", "songlist": [ "Desmond Dekker & The Aces – Israelites (Official Lyrics Video)", "Toots & The Maytals - Funky Kingston", "Derrick Morgan - ＂Forward March＂ (Official Audio)", "Skatalites - Ska Ska Ska", "Jimmy Cliff - King Of Kings", "Al Capone", "The Upsetters - Return of Django (Official Audio)", "Owen Gray - Darling Patricia", "King Edwards Group - Russian Roulette" ], "playlistID": "PLb15rbk6I4pOPIPc6iubm7cgJetCFErxF", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOPIPc6iubm7cgJetCFErxF", "spotify-playlist-link": "https://open.spotify.com/playlist/26E4AsFD1eNHPIFpiTZFrw?si=UFQm_1sOTo2kG89o0UhX5g", "name_zh": "斯卡" }, "jam03": { "name": "ROCKSTEADY
慢拍摇滚", "year": "1965", "supergenre-first-tag": "JAMAICAN", "description": "
在英国默西节拍（Mersey Beat）革命之后，一个名为mods的小型青年亚文化存在，他们听自己的mod摇滚乐。几乎完全相同的事情在斯卡（Ska）革命后的牙买加发生：年轻的黑帮分子和街头少年（称为rude boys）将快乐、快节奏的斯卡改成他们能够共鸣的东西：更酷、更慢的音乐（受灵魂乐影响），带有简单但有力的贝斯和更多摇滚影响如电吉他（尽管稀少）。这种rude boy音乐成为Rocksteady。\n\n正如朋克（Punk）、说唱（Rap）或Mod，歌词更多是关于政治问题，尽管音乐听起来远非粗糙，但通常以类似R&B的小型和声组合表演。实施政治内容和更慢、更放松、更严肃的速度的原因，是对1962年独立后安装的第一个牙买加政府日益增长的不满。牙买加音乐减速的另一个原因在于许多音乐家根本不喜欢演奏斯卡过度活跃的节奏。Rocksteady特别值得注意的是著名的牙买加Tuff Gong唱片公司。在雷鬼兴起之前，Rocksteady缓慢地转变为早期雷鬼（Early Reggae）。代表艺人包括Alton Ellis、The Paragons、The Techniques以及The Melodians。
Right after the British Mersey Beat Revolution a small youth subculture, the mods, existed, that listened to their own type of mod Rock & Roll. Almost exactly the same happened in Jamaica after the Ska revolution: young gangsters and street kids (known as “rude boys”) changed the happy, uptempo Ska in something they could relate to: much cooler, slower music (influenced by Soul) with an easy but powerful bass and more Rock influences such as electric guitars (though sparse). This rude boy music became known as Rocksteady. And just as Punk, Rap or Mod, the lyrics were more often than not about political issues, although the music sounded nowhere near as rough, but was often performed in R&B-like small harmony groups. The reason for implementing political content and a slower, laidback and more serious tempo was a slowly growing discontent with the very first Jamaican government installed after the independence in 1962. Another reason for the slowing down of Jamaican music lay in the simple fact that many musicians just didn’t like to play Ska’s hyperactive rhythm. Particularly of notice for Rocksteady, is the famous Jamaican Tuff Gong Records label. Right before the rise of Reggae, Rocksteady led to a specific subgenre known as “Poppa-Top”, which had a looser and bubblier rhythm.
", "songlist": [ "Rivers of Babylon - Hopeton Lewis", "The Heptones-Book Of Rules.", "The Paragons - ＂The Tide Is High＂ (Official Audio)", "Alton Ellis - ＂You've Made Me So Very Happy＂ (Official Audio)", "Phyllis Dillon ~ Picture On The Wall (Reggae)", "Slim Smith & The Uniques - My Conversation", "Rita Marley - One Draw", "Rough & Tough (feat. Stranger Cole)", "Puppet On A String", "The Melodians - 'I Will Get Along (Without You)' (Official Audio)" ], "playlistID": "PLb15rbk6I4pNIUCoGmz00dEH3z7-bMaWN", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNIUCoGmz00dEH3z7-bMaWN", "spotify-playlist-link": "https://open.spotify.com/playlist/0RytSoT0qdMXFSpnVP83fL?si=VzlwC5QsSPCUVOLXGtVMtg", "name_zh": "慢拍摇滚" }, "jam04": { "name": "(ROOTS) REGGAE
根源雷鬼", "year": "1968", "supergenre-first-tag": "JAMAICAN", "description": "
当牙买加公民意识到独立并不比殖民更好时，对新政府和更好治理的乐观情绪迅速消退。在作为一个国家的婴儿期，牙买加未能解决穷人的需求，特别是在城市贫民区。这些地方成为一种新的、更慢的Rocksteady类型的滋生地：雷鬼（Reggae）。嵌入牙买加阳光温暖的热带气候中，并受到大麻丰富可得性的影响，雷鬼听起来并不像它实际上那样反动。但直到今天，它从未停止质疑权威。雷鬼在1972年爆发，得益于该国十周年纪念（因此也是十年失败的政治）和电影The Harder They Come的上映，使雷鬼在海外流行起来。\n\n贝斯吉他成为雷鬼的主导乐器，它省略了小节的第一拍，创造了所谓的一拍节奏（one drop rhythm），赋予雷鬼其独特的反拍声音。节奏断奏吉他移到了背景，但其他斯卡特征仍然清晰可闻。这种早期雷鬼最终被精神拉斯塔法里（Rastafari）运动所认领为亚文化音乐。拉斯塔法里是一种以圣经和非洲灵性为基础的信仰体系，崇敬埃塞俄比亚皇帝海尔·塞拉西（Haile Selassie）为活神。代表艺人包括Bob Marley & The Wailers、Peter Tosh、Burning Spear以及Lee Scratch Perry。
The optimism for new and better governance was quickly waning, when Jamaican citizens realized they were not better off with independence than with colonization. During its infancy as a state, Jamaica failed to address the needs of the poor, especially in urban ghettos. These places became the breeding ground for a new, slower type of Rocksteady: “Reggae”. Embedded in the sunny, warm Caribbean climate of Jamaica and influenced by the abundant availability of marihuana, Reggae doesn’t sound as much reactionary as it is. But to this very day it has never ceased to question authority. Reggae exploded in 1972, thanks to both the 10 year anniversary of the country (and thus a decade of failed politics) and the film release of “The Harder They Come”, which made Reggae popular overseas.

The bass guitar became Reggae’s leading instrument, which dropped the first beat of a bar, creating the so called “one drop rhythm” which gives Reggae its characteristic offbeat sound. The rhythm staccato guitar moved to the background, but other Ska characteristics were still clearly audible. This Early Reggae eventually got claimed as the subcultural music of the spiritual Rastafari movement. Rastafari is a special Jamaican faith dating back as early as the thirties, which deals about many issues that are also attributed to Reggae: religion, racism, ghetto-life, cannabis use, African roots and more. The term “Roots Reggae” is either reserved for Reggae strongly expressing Rastafari beliefs and issues, or to distinguish the genre from other Jamaican music.
", "songlist": [ "Bob Marley - Could You Be Loved [HQ Sound]", "12'' Burning Spear - Jah No Dead", "Black Uhuru Great Train Robbery", "Peter Tosh - Legalize It (Audio)", "Heavy Manners", "MAX ROMEO - Chase The Devil (1976) [HD Video Clip]", "Sylford Walker - Burn Babylon", "Buju Banton - Boom Bye Bye", "Don Carlos- Fight The Revolution", "Israel Vibration 'Natty Dread", "Damian Marley - Welcome To Jamrock", "Clint Eastwood & General Saint - Stop That Train" ], "playlistID": "PLb15rbk6I4pM7F_IlpqejmtNeFqjVPd55", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM7F_IlpqejmtNeFqjVPd55", "spotify-playlist-link": "https://open.spotify.com/playlist/1DWUtmBaiuLnZUfnwnCBBV?si=U4dzZLwyQQuGflTzqKuS4w", "name_zh": "根源雷鬼" }, "jam05": { "name": "DUB
回响", "year": "1970", "supergenre-first-tag": "JAMAICAN", "description": "
早期雷鬼（Reggae）作曲家可能从未想过Dub会成为如此重要和有影响力的流派。Dub最初是雷鬼或Rocksteady唱片的器乐B面或复制唱片。因此，dub这个词源自复制唱片的名称：dubplate（双盘）。原始音乐被完全剥离所有乐器，然后以同样的方式重建，但完全电子化且慢得多。Dub以大量声音效果为特色，特别是回声和混响，以及令人难以置信的重型次声波贝斯，设计用于典型的牙买加音响系统（sound systems，具有大型低音扬声器和空气导流器以支持Dub音乐）。\n\nDub操作的主要特征之一是延迟（delay），在歌曲的许多不同部分使用，通常以广泛、全景式的方式进行。这赋予了Dub其典型的wah-wah感觉，声音似乎从墙壁弹回，永不消亡。所有这些声音效果与大麻协同作用良好，大麻强烈影响了Dub音乐（并继续如此）。由于其开创性技术但梦幻般和超现实的声音，Dub是各类音乐的重要灵感来源，并保持着作为Drum 'n' Bass和Dubstep先驱的活生生的传统。代表艺人包括King Tubby、Lee Scratch Perry、Scientist以及Augustus Pablo。
The early Reggae composers probably never thought that Dub was going to be such an important and influential genre. Dub started out as instrumental B-sides or copy records of Reggae or Rocksteady records. Hence the word “dub” was derived from the name of a copy record: a dubplate (double plate). The original music is completely stripped down of all instruments and then rebuilt in the same way but entirely electronically and much, much slower. Dub features lots of sound effects, especially echo and reverb, and incredibly heavy subsonic bass designed to be played on typical Jamaican sound systems (which have massive bass woofers and air scoops to support Dub music). One of the main characteristics of Dub manipulation is delay, which is used on many different parts of the song and often in an extensive, panoramic manner. This gives Dub its typical “wah-wah” feeling where sounds seem to bounce back from the walls and never die. All these sound effects synergize well with cannabis, which strongly influenced Dub music (and continues to do so).

Because of its pioneering technology yet dreamy and surreal sound, Dub was an important inspiration for all kinds of music and remains a living stream in the contemporary world of popular music. In the nineties, Dub gets influenced by EDM instead of the other way around, and becomes the subgenre Digidub (digital Dub).
", "songlist": [ "King Tubby- A Murderous Dub", "Lee Scratch Perry - Jah", "Mad Professor ~＊~ DUB DREAD", "Prince Jammy - Fist of Fury", "Rasta Fari Dub", "Augustus Pablo - King Tubby Meets Rockers Uptown", "Bunny Lee - Blood Sweat and Dunza Dub", "Winston Riley - In The Mood Dub", "Scientist - Steppers", "Tommy McCook & The Agrovators - The Dub Station" ], "playlistID": "PLb15rbk6I4pOvIzetd7l9N8sdMAO5otkc", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOvIzetd7l9N8sdMAO5otkc", "spotify-playlist-link": "https://open.spotify.com/playlist/10w9XqYSE6XTzQFCOqGKW8?si=yqesgNYpRjqRuRlEQ_tT-A", "name_zh": "回响" }, "jam06": { "name": "LOVER’S ROCK & UK REGGAE
情人摇滚 & 英国雷鬼", "year": "1972", "supergenre-first-tag": "JAMAICAN", "description": "
在英国，商业制作人迅速看到了雷鬼（Reggae）所能提供的巨大潜力。雷鬼一旦转移到英国，就失去了所有的政治和地理社会学语境，首先被视为一种快乐、无忧无虑的音乐类型。讽刺的是，这与它被构思的方式完全相反。通过将雷鬼与灵魂乐（Soul）混合，一种轻量级的、类似流行乐的音乐被创造出来，成功地成为了一种成功的热门排行榜流派：Lover's Rock，这也是一家开创性唱片公司的名称。它被称为这个名字是因为几乎所有的歌曲都是可预测的爱情歌曲。实际上，它更多是带有雷鬼声音的软性灵魂流行乐，而不是反过来。\n\n但并非所有英国雷鬼都是多愁善感、糖衣般甜美的Lover's Rock。其中大部分只是英国（白人）艺术家对牙买加音乐的诠释，没有宗教和文化上的惯常做法，并带有各种小而多样的流行/摇滚/R&B影响：流行雷鬼（Popreggae/Reggae Pop）。Lover's Rock和英国雷鬼也回到了牙买加，影响了那里的一些艺术家。在八九十年代，流行雷鬼越来越多地受到电子音乐的影响，最终导致了雷鬼融合（Reggae-Fusion）。代表艺人包括UB40、Janet Kay、Maxi Priest以及Aswad。
In the UK, commercial producers quickly saw the huge potential Reggae had to offer. Reggae had lost all its political and geo-sociological context once transferred to Britain and was regarded in first instance as a happy, worryfree type of music. Ironically quite the opposite of how it was conceived. By blending Reggae with Soul, a lightweight, poplike music was created that succeeded in becoming a successful hit chart genre: Lover’s Rock, which is also the name of a pioneering record label. It was called that way because almost all the songs were predictable love songs. Actually, it was more soft Soul Pop with a Reggae sound than the other way around.

But not all UK Reggae is sentimental, sugarsmooth Lover’s Rock. Most of it is simply the interpretation of British (white) artists on Jamaican music, without the religious and cultural stock-in trade and with small but various Pop/Rock/R&B influences: Popreggae aka Reggae Pop. Lover’s Rock and UK Reggae also found their way back to Jamaica and influenced a number of artists there. In the eighties and nineties, Pop Reggae gets more and more influenced by electronic music, leading eventually to Reggae-Fusion.
", "songlist": [ "Janet Kay - Silly Games 12＂", "UB40 - Red Red Wine (Official Video HD Remastered)", "Maxi Priest - Wild World (Official Video)", "Dawn Penn - No, No No (Official Video)", "10cc - Dreadlock Holiday", "Eddy Grant - Gimme Hope Jo'Anna (With Lyrics) (1988) (HD)", "Althea and Donna - Uptown Top Ranking", "Sophia George - Girlie Girlie [Best Quality]", "Jimmy Cliff - I Can See Clearly Now" ], "playlistID": "PLb15rbk6I4pP8jxg-mjNj2dE1x96d-dW1", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP8jxg-mjNj2dE1x96d-dW1", "spotify-playlist-link": "https://open.spotify.com/playlist/32xsq7nzv9BpEKJQA14kkr?si=-7p9k8BwTKu5cRZB_MMcsw", "name_zh": "情人摇滚 & 英国雷鬼" }, "jam07": { "name": "SKA REVIVAL (2-TONE), SKA PUNK & SKACORE
斯卡复兴 / 双色 / 斯卡朋克 & 斯卡核", "year": "1978", "supergenre-first-tag": "JAMAICAN", "supergenre-second-tag": [ "master", "PUNK/WAVE" ], "description": "
在英国朋克（Punk）反抗的年代，一个意想不到的盟友出现了，拉斯塔法里（Rastafarians，雷鬼）开始与朋克一起抗议，由反对改革和压迫的斗争所联合。朋克和雷鬼从未融合，尽管雷鬼的影响在许多新浪潮（New Wave）唱片中确实可以察觉。被称为Oi!-Punk的反动街头朋克，是英国光头党（skinheads）寻找新的舞曲音乐的结果，他们在斯卡（Ska，而非雷鬼）中找到了它。尽管Oi!有时与新法西斯主义、种族主义和虚无主义亚文化联系在一起，但大多数Oi!光头党采用了这种外表，作为对新右翼英国国家阵线（National Front Party）的讽刺性抗议。\n\n著名的英国厂牌2-Tone Records发布了一系列新的英国斯卡艺术家，这导致了一场大规模复兴，并在该流派发明近二十年后在美国和英国发现了斯卡。受Oi! Punk的启发，第二波斯卡或斯卡复兴与朋克混合，但也受到Thrashcore和Skatepunk的影响，到八十年代末斯卡朋克（Ska-Punk）形成完成。第二波斯卡将朋克歌曲变成快节奏、乐观的曲目——配有铜管乐器，尽管仍然在政治上具有攻击性——以及尖锐的歌词。代表艺人包括The Specials、Madness、The Selecter、Operation Ivy（Ska Punk）以及The Mighty Mighty Bosstones。
During the years of Punk rebellion in the UK, an unexpected ally appeared as Rastafarians (Reggae) started protesting alongside Punks, united by their fight against reform and oppression. Punk and Reggae never merged, though Reggae’s influence is certainly noticeable in many New Wave records. Reactionary street Punk known as Oi!-Punk, was the result of UK skinheads looking for new music to dance to and they found it in Ska (not Reggae). Though Oi! Is sometimes associated with neofascist, racist and nihilistic subcultures, most of the Oi! skinheads picked up the appearance as a satirical protest against the new right-wing UK National Front Party.

The famous British label 2-Tone Records released a new series of British Ska artists, which lead to a large revival and the discovery of Ska in the US and the UK, nearly two decades after the genre was invented. Inspired by Oi! Punk, this second wave of Ska or Ska Revival got mixed up with Punk, but became also influenced by Thrashcore and Skatepunk and by the end of the eighties the formation of Ska-Punk was complete. The second wave of Ska changed Punk songs into uptempo, optimistic tracks with brass instruments, though still politically aware. Ska-Punk is also known as the third wave of Ska, keeping the spirit of Ska alive all the way into the nineties.
", "songlist": [ "The Specials - Ghost Town [Official HD Remastered Video]", "The English Beat - Mirror in the Bathroom (Official)", "Madness - Our House (Official 4K Video)", "Fun Boy Three - The Lunatics Have Taken Over the Asylum", "The Selecter - On My Radio (1979) (With Lyrics) (HD)", "BAD MANNERS - LIP UP FATTY", "Party at Ground Zero - Fishbone - Fishbone EP (HD)", "The Mighty Mighty Bosstones - The Impression That I Get (Official Music Video)", "Against All Authority - Lifestyle of Rebellion (Lyrics)", "Operation Ivy - Sound System" ], "playlistID": "PLb15rbk6I4pOfahaBTXFZ6XLtCuhCLASP", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOfahaBTXFZ6XLtCuhCLASP", "spotify-playlist-link": "https://open.spotify.com/playlist/5TJkGOiDs0OgAVNLysMttU?si=lE0guBd7To2w8wf90iM5vA", "name_zh": "斯卡复兴 / 双色 / 斯卡朋克 & 斯卡核" }, "jam08": { "name": "DANCEHALL
舞厅雷鬼", "year": "1980", "supergenre-first-tag": "JAMAICAN", "description": "
腐败政府的历史与八十年代初牙买加可卡因贩运的附带损害相冲突。哥伦比亚贩毒集团将牙买加用作迈阿密和哥伦比亚之间的休息站，这也将毒品传播到了牙买加本身。过度暴力、帮派战争和消极治理迫使许多牙买加人逃入逃避现实的派对音乐中：欢迎来到Dancehall，或者用较少人知道但同样贴切的术语：可卡因雷鬼（Coke Reggae）。\n\n迪斯科（Disco）在全世界引入了夜总会派对文化。牙买加也有自己的舞蹈俱乐部和迪斯科舞厅，但这里的DJ忠于本土音乐。他们取用六十年代老斯卡唱片的节奏（因为雷鬼的节奏太慢，无法狂欢），雷鬼的贝斯和声音，以及来自舞曲/摇滚的影响如加入摇滚鼓。然而，雷鬼的灵性所剩无几。这是咄咄逼人的、世俗的、侵略性的派对音乐。歌词不再涉及毒品、上帝或政治，而是涉及所谓的slackness：露骨的性和粗俗内容。Dancehall也带回了toasting（祝词）的概念，雷鬼已经放弃了它。代表艺人包括Yellowman、Shabba Ranks、Beenie Man、Sean Paul以及Vybz Kartel。
A history of corrupt governments collides with the collateral damage of cocaine trafficking in the early eighties in Jamaica. Colombian cartels used Jamaica as pit stop between Miami and Colombia, which also spread the drug throughout Jamaica itself. Excessive violence, gang wars and passive governance coerced many Jamaicans to flee into escapist party music: welcome to Dancehall or in a lesser known but in equally apt terms: Coke Reggae.

Disco introduced the nightclub-party-culture around the world. Jamaica too had its own dancing clubs and discotheques, but DJ’s here stayed true to the native music. They took the rhythm from old sixties’ Ska records (because Reggae’s rhythm was too slow to party hard), the bass and sound of Reggae and influences from Dance/Rock such as the addition of rock drums. There was little left of the spirituality of Reggae though. This was in-your-face, secular and aggressive party music. Instead of drugs, God or politics, the lyrics dealt with so called “slackness”: explicit sexual and vulgar content. Dancehall also brought back the concept of toasting, which Reggae had abandoned. These types of vocals are much more fitting to both the sound and content. A new type of fashion to go along with the party phenomenon of Dancehall makes this more than just a music genre: combined with Ragga it is a well-established subculture of debauchery and escapism.
", "songlist": [ "Yellowman Zungguzungguguzungguzeng", "Boops (Here To Go) (12＂ Version) - Sly & Robbie ｜ 80s Dance Music ｜ 80s Club Mixes ｜ 80s Club Music", "Wa-Do-Dem", "Tenor Saw - Ring the alarm", "Barrington Levy - Here I Come", "Michigan & Smiley--Diseases", "GENERAL ECHO⧸BATHROOM SEX", "Brigadier Jerry - Ram Dance Master", "Anthony Red Rose - Tempo" ], "playlistID": "PLb15rbk6I4pPdmmcrYGH3K8IUMkjPegsc", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPdmmcrYGH3K8IUMkjPegsc", "spotify-playlist-link": "https://open.spotify.com/playlist/6FvxBfrSNcIjOhjqvkuTfI?si=63UjPq1tSJmPjIDkfYiSIw", "name_zh": "舞厅雷鬼" }, "jam09": { "name": "RAGGA
拉加", "year": "1985", "supergenre-first-tag": "JAMAICAN", "description": "
Ragga（Raggamuffin的缩写）是纯粹电子化的Dancehall，过度驱动。随着音乐计算机的引入，制作人可以创建数字化的Dancehall节奏，带有大量贝斯和巧妙的声音效果，称为riddims（节奏模板）。Riddims自Dub时代就已存在，当时它们被称为任何Dub曲目的基本模板，即歌曲被剥离的部分，具有增强的鼓和节拍（在声音处理之前）。随着Ragga的出现，Dub riddims被加速，更多（高速）riddims被创建。\n\n一整套平行的riddims——每个都有自己的名字——被不同Ragga歌曲互换使用（类似于相同的冲浪摇滚旋律被用于不同歌曲和艺术家）。选定riddim后，DJ添加更刺耳和锯齿状的声音，toasting人声构成了MC的工作。Ragga是超动感节奏，令人兴奋的牙买加舞曲音乐，无法抗拒。这就是为什么它对后来的Rave和Drum 'n' Bass文化产生了巨大影响。第一个Ragga riddim被称为Sleng Teng，有时被用作Ragga的同义词。就歌词内容而言，Dancehall的slackness在Ragga中同样突出。代表艺人包括Buju Banton、Capleton、Shaggy以及Bounty Killer。
Ragga (short for “Raggamuffin”) is purely electronic Dancehall in overdrive. With the introduction of music computers, producers could create digital Dancehall rhythms with lots of bass and nifty sound effects, called “riddims”. Riddims had been around since the age of Dub, where they were known as the basic template of any Dub track, which is the stripped down part of the song with enhanced drums and beat (before sound manipulation). With the advent of Ragga, Dub riddims became accelerated and many more (speedy) riddims were created. A whole parallel collection of riddims - each with his own name - was used interchangeably with different Ragga songs (similar to how the same Surf Rock melodies were used for different songs and artists). After the selection of riddim, harsher and jagged sounds are added by the DJ and toasting vocals make up the work of the MC. Ragga is hyperkinetic rhythm, electrifying Jamaican dance music, unable to resist. And this is why it was a tremendous influence on later Rave and Drum ‘n’ Bass culture.

The very first Ragga riddim was called “Sleng Teng”, which is sometimes used as a synonym for Ragga. When it comes to lyrical content, the Dancehall slackness only got worse. Ragga MC’s, toasting over this booming digital Rapreggae, have no taboos whatsoever when it comes to sexuality, promoting (straight) sex as much as possible and sometimes getting into trouble with homophobic lyrics. The aggressive, often criminal, and homophobic behavior of Ragga diminishes strongly in the 21st century and Ragga starts to blend in with the “peace-and-unity” philosophy of Reggae.
", "songlist": [ "Elephant Man - Nuh Linga ＊OFFICIAL VIDEO＊", "Beenie Man - Who Am I (Sim Simma)", "BOUNTY KILLA - LOOK INTO MY EYES ( BUG RIDDIM INSTRUMENTAL WITH LIRICS ) SUFFERER ANTHEM", "Sean Paul - Get Busy⧸Like Glue (Official Video)", "King Jammy's ＂Sleng Teng＂", "Red Rat - Tight Up Skirt", "Sizzla - Mamma Mek Mi Deh Yah So(Official HQ Video)", "Capleton - Toppa Tings", "TOK ＂SHAKE YOUR BAM BAM＂", "Mr. Vegas - Tamale (Revision Full Length)", "Mavado - Nuh Bleach wid Cream" ], "playlistID": "PLb15rbk6I4pPcWwYw-NgiFcWcMGxiZPoc", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPcWwYw-NgiFcWcMGxiZPoc", "spotify-playlist-link": "https://open.spotify.com/playlist/4qtMWIyoAtd7EegjHvs01A?si=JpKe082ISeCtTAtrVqAWUQ", "name_zh": "拉加" }, "jam10": { "name": "REGGAE FUSION & BHANGRAMUFFIN
雷鬼融合 & 邦拉雷鬼", "year": "1991", "supergenre-first-tag": "JAMAICAN", "description": "
在九十年代早中期，千年末狂热导致了许多狂喜和乐观的主流音乐。与欧陆舞曲（Eurodance）、南方说唱（South Rap）、快乐硬核（Happy Hardcore）等一起，雷鬼融合（Reggae-Fusion）和Bhangramuffin在流行排行榜中得分很高。前者是雷鬼音乐的现代电子说唱版本，后者是Ragga和Bhangra（印度旁遮普民谣音乐）的结合。Bhangra在英国特别受欢迎，那里雷鬼和Ragga也是一个重要且庞大的亚文化。\n\n雷鬼融合又名雷鬼流行（Reggae Pop），部分也是Ragga在更商业化（即西方）环境中的突破。一些艺术家最初是纯Ragga艺术家，但将他们的声音转变为更政治正确和更轻的版本。由于雷鬼融合在热门排行榜中的成功，许多雷鬼艺术家开始将Ragga元素融入他们的音乐。雷鬼融合和Bhangramuffin以不同方式起源，但最终结果相当相似：商业化、有节奏的、快乐的雷鬼（稍重一些）和Ragga（稍软一些）。代表艺人包括Shaggy（跨界）、Sean Paul（跨界）、Magic!以及Panjabi MC。
In the early and mid-nineties the “End-of-the-Millennium” craze led to lots of ecstatic and optimistic mainstream music. Along with Eurodance, South Rap, Happy Hardcore, and more, Reggae-Fusion and Bhangramuffin scored high in the hit Pop charts. The former was a modern, electronic Rap version of Reggae music where the latter was the combination of Ragga and Bhangra. Bhangra, which is Indian Punjabi Folk music, was especially popular in the UK, where Reggae and Ragga were also an important and big subculture. Reggae-Fusion aka Reggae Pop is also partly the breakthrough of Ragga in a more commercial (read: western) environment. Some artists started as pure Ragga artists, but changed their sound into a more politically correct and lighter version. Because of Reggae Fusion’s success in the hit charts, many Reggae artists started to incorporate Ragga elements in their music. Reggae Fusion and Bhangramuffin originated in different ways, but the end result was quite similar: commercial, rhythmical, happy Reggae (a bit heavier) and Ragga (a bit softer).
", "songlist": [ "Inner Circle - Bad Boys", "Shaggy - Boombastic (HQ sound)", "Snow - Informer (Official Music Video) [4K Remaster]", "Reel 2 Real feat. The Mad Stuntman - I Like To Move It (Official 4K Video)", "Apache Indian - Boom Shack-A-Lak (Stereo)", "Mr. Loverman", "Ini Kamoze - Here Comes The Hotstepper (HQ)", "Aswad - Shine", "DaReal Madd Squad Ft. Wayne Wonder - Bounce Along (Refresh) [Official Music Video]", "Chaka Demus & Pliers - Tease Me (Official Music Video)", "Tiger - Bam Bam [Best Quality]" ], "playlistID": "PLb15rbk6I4pNPbvGY_N4OmLYcQ7X_rLpA", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNPbvGY_N4OmLYcQ7X_rLpA", "spotify-playlist-link": "https://open.spotify.com/playlist/3PZT5jHOBG95ubrxuS3GXy?si=AQS3BzLrSjWX6i5J_ohCpg", "name_zh": "雷鬼融合 & 邦拉雷鬼" }, "jam11": { "name": "REGGAETÓN & LATIN RAP
雷击顿 & 拉丁说唱", "year": "1994", "supergenre-first-tag": "JAMAICAN", "supergenre-second-tag": [ "master", "RAP" ], "description": "
拉丁说唱（Latin Rap）——匪帮说唱（Gangsta Rap）与拉丁音乐的混合——被证明是一种成功的鸡尾酒。异国情调的碎拍节奏（充满铜管、康加鼓或拉丁乐器）与西班牙语说唱歌词的混合，创造了一种几乎无与伦比的热带氛围和酷感。拉丁说唱远非缓慢和放松，而是热辣和愤怒，意味着在穿越贫民窟和西班牙语裔聚居区时以最大音量播放。\n\n波多黎各的艺术家没有像在美国那样将拉丁元素添加到说唱音乐中，而是将美国匪帮说唱添加到他们的本土音乐（主要是沉重的Bomba和一点Plena），创造了一个全新的流派：Reggaetón（与雷鬼无关，但确实受到Dancehall的影响）。结果类似于拉丁说唱，但节奏完全基于Bomba，没有任何R&B采样，歌词甚至比拉丁说唱更加露骨。Reggaetón基于Ragga Dembow riddim，使用鼓机的军鼓。这一流派最终出人意料地转移到电子浩室（Electro House）世界，导致了Moombahton。代表艺人包括Daddy Yankee、Don Omar、Tego Calderón、Wisin & Yandel以及Bad Bunny。
Latin Rap, a mixture of Gangsta Rap and Latin music, proved to be a successful cocktail. The mix of exotic breakbeat rhythms (filled with brass, congas or Latin instruments) and Spanish rap lyrics created an almost unrivaled tropical atmosphere and attitude of ‘coolness’. Latin Rap was far from slow and laidback but rather spicy and furious, meant to be played at max volume while cruising through the favelas and Hispanic ghettos. Instead of adding Latin elements to Rap music (what happened in the US), artists in Puerto Rico added American Gangsta Rap to their native music (mainly heavy Bomba and a bit of Plena) creating a whole new genre: Reggaetón (which has nothing to do with Reggae, but did get influenced by Dancehall). The result was similar to Latin Rap, but the rhythm was entirely based on Bomba with no R&B samples whatsoever, and the lyrics were even more explicit than Latin Rap. Reggaeton is based on the Ragga Dembow riddim, which uses the snare of a drum machine. The genre eventually made a surprising transfer to the world of Electro House, leading to Moombahton.
", "songlist": [ "Tego Calderon - Guasa, Guasa", "Daddy Yankee - Gasolina [Official Music Video]", "Don Omar ｜ Dile (Video Oficial )", "Calle 13 - Pa'l Norte (Video)", "Yandel - Encantadora (Official Video)", "Wisin - Corazón Acelerao (Official Video)", "Cypress Hill featuring Barron Ricks - Tequila Sunrise ft. Barron Ricks", "La Raza", "Juan Gotti - Mira Lo Que Pasa", "Menudo Menudo" ], "playlistID": "PLb15rbk6I4pPQA2YWd0XCY7ZAUe8NYgYw", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPQA2YWd0XCY7ZAUe8NYgYw", "spotify-playlist-link": "https://open.spotify.com/playlist/73QBJvTnVBdYv4hWnhKQGu?si=_nF2QPsjTl2AioZQAtmgQQ", "name_zh": "雷击顿 & 拉丁说唱" }, "rap01": { "name": "OLD SKOOL RAP PIONEERS
老派说唱先驱", "year": "1974", "supergenre-first-tag": "RAP", "description": "
说唱（Rap，或嘻哈文化Hip-hop culture）的早期阶段非常微小而脆弱。只有少数革命性的先锋艺术家，起源于纽约南布朗克斯。这是一个相当实验性的场景，受到放克（Funk）和迪斯科（Disco）的巨大影响：纽约俱乐部Disco Fever的主要流派，老派说唱（Old Skool Rap）在那里首次进入俱乐部。然而，说唱并非起源于夜店，而是源于自发的户外社区派对。牙买加DJ Kool Herc引入了音响系统（sound systems）的概念，获得了巨大的吸引力，但从未离开贫民区。\n\n友好的霹雳舞（breakdance）斗舞，在不同舞蹈队伍和/或先锋说唱团体之间进行，为这些音响系统派对贡献了一种欢乐和繁荣的氛围——一种宏大事物在地平线上搅动的场景。老派说唱与后期流派的不同之处在于对押韵的适度实验。先锋说唱歌手取用现有的迪斯科或放克唱片，使用器乐部分，并在节拍之上漂亮地说唱，不偏离韵律或速度。对说唱因过度使用采样而缺乏原创性的批评——当你看到完全无关流派如Kraftwerk和Funkadelic被融入可辨识节拍时——很难被证明合理。代表艺人包括Grandmaster Flash & the Furious Five、Afrika Bambaataa、Kurtis Blow以及The Sugarhill Gang。
The early stages of Rap (or Hip-hop culture) were very small and brittle. There were only a select number of revolutionary pioneering artists, originating from South Bronx, N.Y. It was quite an experimental scene, with large influences from both Funk and Disco: the main genres in the New York club “Disco Fever”, where Old Skool Rap made its first clubbing entrance. Rap did not originate from nightclubs however, but at spontaneous outdoors neighborhood parties. Jamaican DJ Kool Herc introduced the concept of sound systems which gained huge appeal yet never left the ghetto. Friendly breakdance battles, fought between different dance crews and/or pioneering Rap groups, contributed to a vibe of joy and exuberance at these sound system parties – a scene of something grand stirring on the horizon.

Old Skool Rap differs from later genres in a modest experimentation with rhymes. Pioneering rappers take existing Disco or Funk records, use instrumental parts, and nicely rap on top of the beat, without deviating from metre or tempo.

The criticism that Rap lacks originality due to its excessive use of sampling can hardly be justified when one looks at the absurd fusion of completely unrelated techniques and genres in Old Skool Rap: mixing and scratching (a completely new technique) of the most rare Funk records one can find, toasting (a Jamaican vocal technique) over it, while eventually (during Electro Rap) even being influenced by the most innovative electronic music of all time coming all the way from Germany (Krautrock). This could only be invented by people with little education who had nothing to gain or lose but just wanted to have fun: black youngsters from the ghetto.
", "songlist": [ "Grandmaster Flash & The Furious Five - The Message (Official Video)", "The Sugarhill Gang - Rapper's Delight (Official Video)", "Kurtis Blow - The Breaks", "Cold Crush Brothers At The Dixie", "Fearless Four - Rockin´ it", "Fab 5 Freddy - Change The Beat", "The Fatback Band - King Tim III (Personality Jock) (Official Audio)", "Paulett & Tanya Winley - Rhymin' & Rappin' (Paul Winley 1979)", "The Treacherous Three - Body Rock" ], "playlistID": "PLb15rbk6I4pN4bnzGfS8KAVeMadyPw5DY", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pN4bnzGfS8KAVeMadyPw5DY", "spotify-playlist-link": "https://open.spotify.com/playlist/1xIuQXWxlMDo1zsWmW7jtZ?si=HAF0WEgUSRSH8oE3jN0F7g", "name_zh": "老派说唱先驱" }, "rap02": { "name": "GOLDEN AGE RAP (& HARDCORE RAP)
黄金时代说唱 & 硬核说唱", "year": "1984", "supergenre-first-tag": "RAP", "description": "
说唱（Rap）用了十年时间才走出贫民区，进入唱片，征服全球。始于纽约，遍布整个美国东海岸，不同的说唱团体（通常不止一个MC）销售金唱片或白金专辑。这一时期（八十年代中至末期）是嘻哈（Hip-hop）的鼎盛时期，当时有巨大的吸引力，负面宣传仍然很少（说唱尚未与犯罪或商业出卖联系在一起）。\n\n这种巨大吸引力有几个原因。说唱得到了中产阶级和白人观众的更多欣赏，因为他们可以与音乐共鸣。说唱歌手开始说唱关于责任、政治信息、反毒品、反资本主义，嘻哈不再是一个带有奇怪习俗的孤立的亚文化。特别是Run DMC融入摇滚元素，以及MTV——最终通过节目Yo! MTV Raps成为音乐的强力支持者——在1983年成为全国性并在有线电视上可用，帮助东海岸说唱在不那么明显的观众中传播。但也许这一流派最重要的方面是制作音乐的不同方式；MC不再在现有唱片上说唱，而是节拍和人声都从头开始制作。代表艺人包括Run-DMC、Public Enemy、Eric B. & Rakim、Boogie Down Productions以及De La Soul。
It took a decade before Rap got out of the ghetto and onto records, conquering the globe. What started in New York, spreaded throughout the whole US East coast, with different Rap groups (usually more than one MC) selling gold or platinum albums. This period (mid till late eighties) were the heydays of Hip-hop, when there was massive appeal combined with still little negative publicity (Rap wasn’t affiliated with either criminality or commercial selling-out yet).

There are several reasons for this large appeal. Rap gets more appreciated by middle class and white audiences, because they can relate to the music. Rappers start rapping about responsibility, political messages, anti-drugs, anti-capitalism and Hip-Hop is no longer a secluded subculture with “weird’ customs. Especially Run DMC’s implementation of Rock elements and the fact that MTV – who finally became a strong supporter of the music with the program “Yo! MTV Raps” – became national and available on cable in 1983, helped spread East Coast Rap among less obvious audiences. But perhaps the most important aspect of this genre is a different approach in making the music; MC’s no longer rap over existing records, but the beat and the rhyme become one. The beat gets made from scratch, sometimes specifically for a made rhyme, and MC’s evolve in their rhyming skills, resulting in more professional and eloquent flows than Old Skool Rap.

The government didn’t always approve with this new music unfortunately, because a number of Rap groups expressed political criticism, tales of ghetto life, explicit language or a favoritism for criminality. These early examples of Gangsta Rap (also East Coast based) are known as the subgenre Hardcore Rap. The Congressional Hearings of 1985 were an immediate consequence of Hardcore Rap and forced all artists with “explicit content” to put a parental advisory label on their albums. But Rap became the principal victim while many explicit Rock or Metal albums were let off the hook, exposing the racist subtext of these labels. However, this “enemy of the state” reputation didn’t stop Rap from becoming one of the biggest phenomenons in eighties’s music.
", "songlist": [ "Run D.M.C - Rock Box", "Eric B. & Rakim - I Know You Got Soul ( 1987 )", "Give the Drummer Some", "Slick Rick - Children's Story", "LL COOL J - Mama Said Knock You Out (Official Music Video)", "Public Enemy - Black Steel In The Hour Of Chaos", "KRS-One - The MC", "My 9mm Goes Bang", "Kool G Rap & DJ Polo - Road To The Riches (Official Video)", "Schoolly D- PSK, What Does It Mean？" ], "playlistID": "PLb15rbk6I4pNppwZEwJxJ7PCw-PydBXpE", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNppwZEwJxJ7PCw-PydBXpE", "spotify-playlist-link": "https://open.spotify.com/playlist/3pwJWMTICn0m5UI9UQlTwX?si=V7yfKKZ5Re6xTw-2pQZBDg", "name_zh": "黄金时代说唱 & 硬核说唱" }, "rap03": { "name": "MIAMI BASS & BOUNCE
迈阿密贝斯 & 弹跳舞", "year": "1986", "supergenre-first-tag": "RAP", "description": "
从音乐上讲，迈阿密曾是八十年代最重要的城市之一。在音序器和TR-808鼓机到来之后，本地制作人Amos Larkins大量使用这些工具来创造一种新的电子说唱（Electro Rap）。说唱节拍的贝斯被尽可能加强，创造出一种真正肥厚、油腻的贝斯：非常适合摇晃大屁股，受到所有（黑人）迈阿密贝斯（Miami Bass）艺术家的喜爱（或至少用来制作音乐录影带）。以一种非常直接的方式，Miami Bass被重新命名为Booty Bass（臀部贝斯）。\n\n然而，如果不是迈阿密的立体声战争（stereo wars）——人们炫耀并叫板对方，看谁有最好的、低音最重的立体声音响系统——这一流派可能不会成长为一个完全成熟的流派。当听这种音乐时，棕榈树、八十年代立体声卡带录音机和光滑的粉色或豹纹敞篷车的画面立即浮现在脑海中——这种音乐深深扎根于那种独特的亚文化语境中。迈阿密贝斯是纯粹的夏日音乐，带有大量新鲜的电子效果，完全没有政治或严肃的歌词。它只以最露骨的方式涉及性和轰鸣的声音，就像一种美国化的Ragga。代表艺人包括2 Live Crew、Luke、DJ Magic Mike以及69 Boyz。
Musically speaking, Miami used to be one of the most important cities in the eighties. After the arrival of sequencers and the TR-808 drum machine, local producer Amos Larkins used these tools intensively to create a new type of Electro Rap. The bass of Rap beats was enhanced as hard as possible, creating a really fat, greasy bass: ideal for shaking big bootys to, loved by all (black) Miami Bass artists (or at least making video clips of it). In a very straightforward way Miami Bass was redubbed “Booty Bass”. However, the genre probably wouldn’t have grown into a fully mature genre if it wasn’t for Miami’s “stereo wars”, where people showed off and called out each other to see who had the best, most bass-heavy stereo soundsystem. Images of palm trees, eighties stereo cassette boomboxes, and slick pink or leopard-print convertibles immediately spring to mind when listening to this music, which is firmly rooted within that idiosyncratic subcultural context. Miami Bass is pure summer music, with lots of fresh Electro effects and no political or serious lyrics whatsoever. It only dealt about sex and booming sounds in the most explicit way possible, like an Americanized form of Ragga.

A few years later, New Orleans took cues from Miami and developed its own kind of bass, called Bounce. As a subgenre with little restraint, Bounce is hypersexual music aimed at twerking onto simple Electro beats and breaks, often with vocoded vocals. As one can see, pointing out differences between Bounce and Miami Bass would really be a bridge too far.
", "songlist": [ "Sir Mix-A-Lot - Baby Got Back (Official Music Video)", "Maggotron & Crushing Crew - Miami Bass Express", "69 Boyz-C'Mon Ride Da Train", "MC A.D.E - Bass Rock Express (Vocal)", "J.J. Fad - Supersonic (Official Music Video)", "L'Trimm - Cars with the Boom (Official Music Video)", "Shake It", "Boom I Got Your Boyfriend" ], "playlistID": "PLb15rbk6I4pMi2_o5MkITGp2qFBO2Rq2P", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMi2_o5MkITGp2qFBO2Rq2P", "spotify-playlist-link": "https://open.spotify.com/playlist/0AZBV1FJLOz8LNwaebr89i?si=wD2MJb0GRwiSWmgrj9Lqlw", "name_zh": "迈阿密贝斯 & 弹跳舞" }, "rap04": { "name": "(WEST COAST) GANGSTA RAP
西海岸匪帮说唱", "year": "1987", "supergenre-first-tag": "RAP", "description": "
说唱（Rap）双相障碍的一面（俏皮和有趣对反动和亵渎）变得越来越激烈：后者。硬核说唱（Hardcore Rap）的本质——如其短暂存在的那样——由日常贫民区生活的挫折和愤怒所驱动，在那里歧视和贫困问题迫使许多人走向犯罪。贫民区罪犯或gangstas利用说唱以露骨和侵略性的方式发泄这种情况。匪帮说唱（Gangsta Rap）在美国西海岸演变，主要在洛杉矶的社区。局势失控，无休止的地盘战争涉及哪个帮派被允许控制哪个社区。这种城市战争的一个重要原因是可卡因（crack cocaine，吸食晶体），它在八十年代中期出现，并被证明比普通可卡因更具成瘾性和破坏性。\n\n尽管在内容上比其他说唱硬核得多，西海岸说唱的声音是轻快和放克的（适合温暖气候）。这一流派是一个通过舒缓合成器旋律传递威胁性或可耻信息的悖论，创造了一种轻松但阴暗的张力。这是一个强有力的流行组合，将匪帮说唱推向全球受众。1992年历史性的洛杉矶暴动——并非偶然——标志着匪帮说唱的突破。代表艺人包括N.W.A.、Dr. Dre、Snoop Dogg、Tupac Shakur以及Ice Cube。
One side of Rap’s bipolar disorder (playful and fun versus reactionary and profane) grew more and more fierce: the latter. The essence of “Hardcore Rap” – as it briefly existed – was fueled by the frustrations and anger of everyday ghetto life, where the problems of discrimination and poverty forced many into criminality. Ghetto criminals or “gangstas” used Rap to ventilate about this situation in an explicit and aggressive manner. Gangsta Rap evolved at the West Coast of the US, mainly in the (neighbor)hoods of Los Angeles. The situation spiraled out of control, with neverending “turf wars” about which gang was allowed to control which neighbourhood. Not the least of causes for this urban warfare was crack cocaine (smoked crystals), which emerged in the mid eighties and proved to be highly more addictive and destructive than regular cocaine. Eventually the spiral hit rock bottom, culminating in the historical L.A. riots of 1992, not by chance the breakthrough of Gangsta Rap.

Although in content it’s a lot more hardcore than other Rap, West Coast Rap’s sound is light and funky (fitting for the warm climate). The genre is a paradox of menacing or scandalous messages conveyed through lightweight sounds. The music is filled with stereotypical sound effects: chimes or ringing bells, high-pitched nasal synth tunes, and deep, greasy moog basslines. Especially the offshoot subgenre, G-Funk (G for gangsta), which sampled only the greasiest and grooviest Funk. The focus on royalty-free Rare Groove records and digitally made sounds was an immediate consequence of the ban on sampling after the 1991 Biz Markie court case. Although West Coast Rap was already slumbering in the late eighties with pioneers Ice-T and N.W.A., the genre erupted into mainstream in ’91-’92 with the notorious Death Row Records label and debuts of some of Rap’s most famous artists.
", "songlist": [ "N.W.A. - Straight Outta Compton (Official Music Video)", "Ice-T - New Jack Hustler (Official Video) [Explicit]", "Only God Can Judge Me", "Dr. Dre - Nuthin' But A G Thang (Audio)", "Snoop Dogg Snoops Upside Ya Head (HQ)", "Dr. Dre - Natural Born Killaz (ft. Ice Cube) [Music Video] HD", "Warren G - Regulate (Official Music Video) ft. Nate Dogg", "Compton's Most Wanted - Hood Took Me Under (Original)", "Da Lench Mob - Guerillas in tha Mist (Official Video)", "DJ Quik - Tonite (Official Video)", "Tha Dogg Pound - ＂What Would You Do＂ (Official Video)" ], "playlistID": "PLb15rbk6I4pP_VyS5JT7atMyD6Vacg1QC", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP_VyS5JT7atMyD6Vacg1QC", "spotify-playlist-link": "https://open.spotify.com/playlist/7tlbgTg3j7TCBbI4HbuRfE?si=-t1UP3ROSNGEkgfqoO9RAQ", "name_zh": "西海岸匪帮说唱" }, "rap05": { "name": "JAZZ RAP / NATIVE TONGUE
爵士说唱 / 母语组合", "year": "1989", "supergenre-first-tag": "RAP", "description": "
爵士说唱（Jazz Rap/Jazz-Hop，显然是爵士与说唱的融合）抓住了说唱作为典型黑人事物（black thing）的机会，来强调种族问题并提高种族意识，但以一种相当微妙的方式。隐性地通过融入（黑人）灵魂爵士（Soul Jazz）元素——放克（Funk）之父，因此也是说唱之祖父。更显性地通过为匪帮说唱（Gangsta Rap）的负面宣传提供平衡。爵士说唱讲述真诚、共情的关于爱情和日常生活的故事，以显示说唱可以充满积极氛围而非消极。\n\n温暖、柔和的爵士曲调与乐观放克歌词的结合是天作之合：完美的夏日音乐。然而，爵士说唱并不总是快乐的，有时也可以是忧郁的。爵士说唱通常比其他说唱流派具有更低的平均速度。最早强调种族问题的爵士说唱团体之一被称为Native Tongue（原住民之舌），最终成为种族意识爵士说唱的同义词。代表艺人包括A Tribe Called Quest、De La Soul、The Roots、Digable Planets以及Gang Starr。
Jazz Rap or Jazz-Hop (obviously a fusion of Jazz and Rap) grasped the opportunity of Rap as a typical “black thing” to stress racial issues and raise racial awareness, but in a rather subtle way. Implicitly by incorporating elements from (black) Soul Jazz, the father of Funk and therefore the grandfather of Rap. More explicitly by providing counterweight for the negative publicity of Gangsta Rap. Jazz Rap told sincere, empathic stories of love and everyday life to show that Rap can be filled with positive vibes instead of negative. The combination of warm, soft Jazz tunes and optimistic funky lyrics was a marriage made in heaven: the perfect summer music. Nevertheless, Jazz Rap is not always happy, but can sometimes also be melancholic. Jazz Rap usually has a lower average tempo than other Rap genres. One of the first Jazz Rap posses, strongly stressing the racial issues, was called “Native Tongue”, which eventually became a synonym for racially aware Jazz Rap.
", "songlist": [ "De La Soul - Ring Ring Ring (Ha Ha Hey) [Official Music Video]", "A Tribe Called Quest - Award Tour (Official HD Video) ft. Trugoy The Dove", "Jungle Brothers ＂Because I Got It Like That＂ (album version) 1988", "Love Sick", "Del tha Funky Homosapien - Mistadobalina (original)", "The Beatnuts - Watch Out Now[HQ]", "Naughty by Nature - Hip Hop Hooray (Official Music Video)", "Queen Latifah - U.N.I.T.Y.", "One for the Trouble", "Brand Nubian - Punks Jump Up to Get Beat Down (Official Music Video)", "Common - I Used to Love H.E.R. (Official Video)", "Souls Of Mischief - 93 'Til Infinity (Official Video)" ], "playlistID": "PLb15rbk6I4pM8d3oO0BnGd2LQ44p_Yn0Q", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM8d3oO0BnGd2LQ44p_Yn0Q", "spotify-playlist-link": "https://open.spotify.com/playlist/52MrQqiGNZKLvClh1PkaBu?si=dGm7fqz0RaWxmNnsl4WBgQ", "name_zh": "爵士说唱 / 母语组合" }, "rap06": { "name": "PROGRESSIVE RAP / NU SKOOL RAP
前卫说唱 / 新派说唱", "year": "1991", "supergenre-first-tag": "RAP", "description": "
从爵士说唱（Jazz Rap）中，一个强大且无尽的嘻哈（Hip-Hop）运动出现了：新派（Nu Skool）。在匪帮说唱（Gangsta Rap）的攻击性和南方说唱（South Rap）/迈阿密贝斯（Miami Bass）的粗俗之外，新派为那些想要超越这些透明挑衅的说唱粉丝提供了第三种选择。前卫说唱（Progressive Rap）或新派说唱的核心是什么？就是歌词。新派说唱歌手将前卫化的歌词置于首位，通常展示他们庞大的词汇量和以各种可能方式操纵语言的能力。\n\n音乐本身是第二位的，但远非不重要：制作通常具有一个朦胧、有氛围的节拍背景，带有爵士和灵魂乐的基调。这些复杂的押韵方案和偏执狂般的歌词——经常涉及黑人权力的主题——使爵士说唱中的种族意识看起来像童谣。前卫说唱从东海岸和西海岸的过度中撤退，提供了一种智力上引人入胜的替代方案。New School不久后分裂，但以其对节拍和押韵的前卫方法影响了许多未来艺术家。代表艺人包括Nas、Wu-Tang Clan、The Notorious B.I.G.（部分）、Mos Def以及Talib Kweli。
Out of Jazz Rap, a strong and endless Hip-Hop movement emerged: the new (or “nu”) school. Next to the aggressiveness of Gangsta Rap and vulgarity of South Rap/Miami Bass, the Nu Skool offered a third alternative for Rap fans who wanted more than these transparent provocateurs. As a parallel underground stream, the Nu Skool experimented more with techniques and creating own sounds, earning the name Progressive Rap. Instead of nicely matching the rhyme to a predetermined pattern, Nu-Skool rappers became lyrical swordsmiths, striking their verbal avalanches at any unguarded point of the beat.

Nu Skool Rap is sometimes divided into three subgenres, based on their lyrical content: Conscious Rap, Abstract Rap, and Political Rap.
Even more than the Native Tongues, Conscious Rap stresses the native roots of Africa, often identifying with radical African tribes or militant black Muslims. But – and herein lies the difference – they did so in a revolting manner. No more would the black man rap with a jazzy smile on his face but claim the power back with a fist in the air.
Abstract or Experimental Rap focuses on special techniques and unexpected rhythms. Content is less important than form (and therefore abstract) and many microgenres emerge such as Left-Field Hip-Hop.
Political Rap is self-explanatory: with its sharp and relentless critique on government and corporate society – often with anti-capitalist and anti-illuminati messages – it’s no surprise that Political Rap is rather unknown due to a partisanship of US media in favor of other Rap.

Ironically, Nu Skool becomes a heavily studied Rap genre among a number of white researchers, as it is a prime example of just how rich and surprising Hip-hop culture can be.
", "songlist": [ "Wu-Tang Clan - Reunited (Official HD Video)", "Dead Prez - I'm A African", "Mos Def - Mathematics", "Immortal Technique - Bin Laden ft. Eminem , Mos Def and Jadakiss (including Lyrics)", "Deltron 3030 - 3030", "8 steps to perfection ( Better Audio ) - Company Flow", "Cannibal Ox - ＂The F Word＂ [Official Audio]", "M.O.P. - Cold As Ice", "DJ Danger Mouse - Bush Boys", "Jedi Mind Tricks Presents： Army Of The Pharaohs - ＂Seven＂ [Official Audio]" ], "playlistID": "PLb15rbk6I4pOx775nDwXEjxdiomsyiOSX", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOx775nDwXEjxdiomsyiOSX", "spotify-playlist-link": "https://open.spotify.com/playlist/1o838vqmKk6RkbuNSspDbG?si=jwWzS5J9TMK-fy7C_2ofvQ", "name_zh": "前卫说唱 / 新派说唱" }, "rap07": { "name": "(DIRTY) SOUTH RAP, CRUNK & SNAP
南方说唱 / 旷克 & 弹指", "year": "1995", "supergenre-first-tag": "RAP", "description": "
在九十年代的大部分时间里，说唱（Rap）由纽约和洛杉矶主导。但南方也有自己的故事要讲。南方说唱（Southern Rap/Dirty South）具有独特的声音：更慢的节拍、更重的贝斯，以及更具派对导向或更悠闲的态度。南方说唱歌手通常以较慢的、拖长的腔调说唱，与东海岸的快速表达或西海岸的放克影响形成对比。\n\nDirty South的声音是独特的南方产物：沉重的808鼓机模式、朗朗上口的合成器旋律，以及强调重复性hook而非复杂歌词。歌词通常围绕汽车（slabs/candy cars）、派对、在俱乐部度过的美好时光，以及当然——赚钱。这一场景在亚特兰大、休斯顿和新奥尔良等城市蓬勃发展，每个城市都为流派声音贡献了自己的风格。南方说唱最终成为美国说唱的主导力量，其影响力通过Crunk和Trap继续存在。代表艺人包括OutKast、UGK、Scarface、Lil Wayne以及T.I.。
South Rap is a contested genre name, as it serves more as an umbrella term than an easily recognizable style. During the mid nineties, many regional Rap genres emerged in the southern part of the US: Atlanta Rap, Houston/Memphis Rap, New Orleans Rap, Miami/Florida Rap... Typical about these genres is generally a slower tempo than usual, combined with increased emphasis on bass. The music is supposed to feel ‘thick’ and ‘hot’, displaying the same atmosphere as its environment. Catchy choruses and sexual-themed lyrics (hence the name “Dirty South”) are a staple among the more happy styles of South Rap, in which funny or everyday stories can also appear. On the other hand, raw, gritty rhymes focused on drug trade form the blueprint of other styles (e.g. Memphis Rap). What they all have in common however, is a strong tendency towards partying and clubbing, either happy and nonsensical or dark and heavy. Especially during the nillies, when the more uptempo, twerk-friendly, dance-oriented genre Crunk, with its overlapping subgenre Snap, arrives. Crunk gets its name from shouts to the crowd, known as “crunks”. The combination of synthbass-heavy Crunk with slow-motion, criminal Memphis Rap is only a small step away from Trap. Thanks to a rather eclectic nature and a certain basic shielding from commercial mainstream, South Rap has survived as one of the fittest Rap genres, leading Rap into the new millennium.
", "songlist": [ "Goodie Mob - Dirty South (Official HD Video) ft. Big Boi", "Outkast - Ms. Jackson (Official HD Video)", "Arrested Development - Tennessee", "Al Kapone - I Ain't No Killa", "N.E.R.D. - Lapdance ft. Lee Harvey, Vita", "Lil Jon & The East Side Boyz - Get Low (feat. Ying Yang Twins) (Official Music Video)", "Ying Yang Twins - Say I Yi Yi", "Three 6 Mafia - Tear da Club Up '97 (Official Video)" ], "playlistID": "PLb15rbk6I4pMoRch5sv6rt22ES4fsi2hV", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMoRch5sv6rt22ES4fsi2hV", "spotify-playlist-link": "https://open.spotify.com/playlist/7eSHy9Y5n13VgaWItzF5OS?si=snOnLP1bTq6FEiS90Bvmow", "name_zh": "南方说唱 / 旷克 & 弹指" }, "rap08": { "name": "EAST COAST GANGSTA RAP
东海岸匪帮说唱", "year": "1996", "supergenre-first-tag": "RAP", "description": "
匪帮说唱（Gangsta Rap）不仅是反国家的（这并不新鲜），而且是反说唱歌手的。也就是说：其他团体或假说唱歌手。成功从事真正犯罪创业（Original Gangsta）的自豪感，同时应对情感挣扎和贬损（diss，说坏话）其他说唱歌手，是匪帮说唱歌手的刻板形象。这种态度获得了巨大的吸引力，也跨越了全国。在东海岸，说唱歌手更多地从迪斯科（Disco）和灵魂乐（Soul，钢琴和弦乐）采样，而非放克（Funk，贝斯吉他、合成器），但摇滚也是可能的。东海岸的声音也以更精致的方式制作。\n\n东海岸匪帮说唱歌手试图减少贫民区暴徒的形象，更多呈现穿着得体、富有、黑帮分子的形象。这就是bling-bling原始含义丧失的地方，被卷入财富和身份象征的混合中，如跑车、游泳池和豪宅。必须注意，这实际上是第二波东海岸匪帮说唱。第一波——硬核说唱（Hardcore Rap）——在说唱黄金时代出现，从未达到后续波次的巨大唱片销量。最终，东海岸匪帮说唱越来越多地演变为一种商业化的R&B/说唱混合体。代表艺人包括The Notorious B.I.G.、Jay-Z、Nas（中间时期）、Mobb Deep以及50 Cent。
Gangsta Rap was not only anti-state (which was nothing new) but also anti-rappers. That is to say: other posses or fake rappers. The proudness of succeeding in genuine criminal entrepreneurship (“Original Gangsta”) while dealing with emotional struggle and “dissing” (badmouthing) other rappers, was the stereotypical image of the gangsta rapper. This attitude gained a huge appeal, also across the country. At the East Coast rappers took more samples from Disco and Soul (piano and strings) rather than Funk (bass guitars, synth), but even Rock was possible. The east coast sound was also produced in a more polished manner. East Coast Gangsta rappers tried to attain less of a ghetto thug image and a lot more of a well-dressed, rich, mobster image. This is where the original meaning of “bling-bling” got lost and caught up in the mix of richness and status symbols such as sport cars, swimming pools and mansions. One must take note that this is actually the second wave of East Coast Gangsta Rap. The first one – Hardcore Rap – emerged during Rap’s Golden Age and never attained the gargantuan record sales the successive wave had. Eventually East Coast Gangsta Rap evolves more and more into a mainstream radio format and loses all hardcore edges to the point where separation from Urban Breaks becomes impossible.
", "songlist": [ "The Notorious B.I.G. - Hypnotize (Official Music Video) [4K]", "Puff Daddy - Can't Nobody Hold Me Down (feat. Mase) (Official Music Video) [HD]", "Nas - If I Ruled the World (Imagine That) (Official HD Video) ft. Lauryn Hill", "50 Cent - In Da Club (Official Music Video)", "Big Pun- Capital Punishment", "Cam'Ron - Oh Boy (Clean Version) ft. Juelz Santana", "DMX - Party Up (Up In Here) (Enhanced Video, Edited)", "G-Unit - Stunt 101" ], "playlistID": "PLb15rbk6I4pOFBv3tvg7nd-yV326zyhST", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOFBv3tvg7nd-yV326zyhST", "spotify-playlist-link": "https://open.spotify.com/playlist/2bq2S04TjI7NjfzWf1hiQg?si=Yo6lh05SQhW-M6D7BrLVaQ", "name_zh": "东海岸匪帮说唱" }, "rap09": { "name": "TRAP & DRILL
陷阱说唱 & 钻头说唱", "year": "2003", "supergenre-first-tag": "RAP", "description": "
一种新的说唱音乐风格在美国南方地下缓慢地冒泡：Trap。这种特殊的南方说唱类型与其他说唱不同，它添加了大量合成器，通常完全由计算机制作，带有大量硬性的数字声音而非R&B采样。Trap还在反拍上放下节拍，赋予更戏剧性、慢动作式的积聚和释放感，让人想起Dubstep。明显的军鼓、加倍清脆的踩镲、大量TR-808使用，有时甚至铜管乐器，都完美地增添了Trap侵略性、阴郁的歌词内容。\n\nTrap一词是嘻哈俚语，意为毒品交易地点，为音乐增添了一种偏执感，这并非巧合。2010年后，Ghettotech影响了一些Trap制作人，子流派Drill诞生：比Trap更黑暗和更粗粝，但碎拍不太明显，明显痴迷于毒品。毕竟，Trap和Drill的声音深受糖浆啜饮（syrup sipping）习惯的影响：一种新型药物行为，将可待因或异丙嗪咳嗽糖浆与苏打水或酒混合。结合大麻的效果，是带有强力hook、意外中断和含糊、醉态歌词的慢动作声音。代表艺人包括T.I.、Gucci Mane、Young Jeezy、Chief Keef（Drill）以及Future。
Slowly a new style of Rap music bubbled up in the shadows of Southern US underground: Trap. This particular type of South Rap differs from other Rap by adding lots of synthesizer and being often completely computer made with lots of hard, digital sounds instead of R&B samples. Trap also drops the beat on an offbeat, giving a more dramatic, slow-motion build-and-drop feel, reminding of Dubstep. Pronounced snares, doubled crisp hi-hats, heavy TR-808 use, and sometimes even brass instruments all add perfectly to Trap’s aggressive, bleak lyrical content. It is no coincidence that the word “Trap” is Hip-Hop slang for a drug trade location, adding a sense of paranoia to the music.

After 2010, Ghettotech influences certain Trap producers and the subgenre Drill is born: even darker and grittier than Trap, but with less pronounced breaks and clearly obsessed with drugs. After all, Trap and Drill’s sound are heavily influenced by the habit of syrup sipping: a new type of drug behavior where codeine or promethazine cough syrup is mixed with soda or liquor. Combined with the effects of marihuana, a slow motion sound with strong hooks, unexpected interrupts and slurry, intoxicated lyrics is the outcome.
", "songlist": [ "TI- 24's (DIRTY) [HQ]", "Rick Ross - B.M.F. (Official Music Video) ft. Styles P", "Waka Flocka Flame - ＂Hard in Da Paint＂ (Official Music Video)", "Razjah - Movie Star (Prod. by Lex Luger) ｜ Shot By ILMG", "Lody Lucci - Top Notch", "Gucci Mane - Normal (Official Video) (720p HD)", "808 Mafia - Mission {Prod. by Be-Bop} (Hardest Beat Ever)", "Jeezy - Me OK (Explicit)", "Ace Hood - Bugatti (Official Music Video) ft. Future, Rick Ross", "Chief Keef - Hate Being Sober ft. 50 Cent & Wiz Khalifa (Music Video)", "Lil Reese - Team (Official Video) Shot By @AZaeProduction", "Fredo Santana ＂Go Crazy＂ Feat. Gino Marley (WSHH Exclusive - Official Music Video)" ], "playlistID": "PLb15rbk6I4pOwAaCVZN2JK1qLcV2x0lWt", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOwAaCVZN2JK1qLcV2x0lWt", "spotify-playlist-link": "https://open.spotify.com/playlist/2UU41FzcwLVhlNi5Iexj77?si=_RbO0FkuRKuBTbyGwSZXpw", "name_zh": "陷阱说唱 & 钻头说唱" }, "rap10": { "name": "URBAN BREAKS (NU R&B II)
都市碎拍 / 新R&B II", "year": "2004", "supergenre-first-tag": "RAP", "supergenre-second-tag": [ "master", "R & B" ], "description": "
第一波新R&B（Nu/Urban R&B）仍然与原始形式的R&B（特别是灵魂乐 Soul）相连，而第二波打破了所有联系，成为一个怪物般的舞池现象。这里我们有一种柔和流畅的说唱音乐类型，但带有大型hook和重型合成器贝斯线，因此Urban Breaks（都市碎拍）是一个更合适的术语。Urban Breaks中也没有空间留给甜美的抒情歌唱，但强烈、响亮（且大量自动调音autotuned）的副歌与（说唱）诗句交替，占据主导。\n\n与其前身专注于演出和专辑（沿袭八十年代迪斯科流行Disco-Pop的传统），Urban Breaks更多专注于单曲、混音和DJ友好的音乐。这一音乐流派变得极其流行，但不仅仅是因为其朗朗上口的声音。大型唱片公司和聪明的制作人像泡泡糖流行乐（Bubblegum）一样向年轻人推销新R&B，并简单地将其标记为R&B，导致至今对这一术语的大量无知。它通常被认为是有史以来最商业化的流派，因此也是最被鄙视的流派之一，尤其是真正的说唱和R&B艺术家，他们觉得自己的流派被侵犯了。代表艺人包括Rihanna、Chris Brown、Usher（后期）、Ne-Yo以及T-Pain。
Where the first wave of Nu (new) or Urban R&B was still linked to original forms of R&B (especially Soul) a second wave broke all that ties and became a monster dance floor phenomenon. Here we have a soft and smooth type of Rap music but with big hooks and heavy synth basslines, hence Urban Breaks is a more appropriate term. There’s also no more room for sweet ballad singing in Urban Breaks, but strong, loud (and heavily autotuned) choruses alternated by (rap) verses, take the lead. Instead of focusing on gigs and albums like its predecessor (in the tradition of eighties Disco-Pop), Urban Breaks focuses more on singles, remixes and DJ-friendly music. The music genre became immensely popular, but not just for its catchy sound. Major record labels and clever producers marketed Nu R&B to the youth like Bubblegum and simply labeled it “R&B”, leading to a great deal of ignorance about the term till this day. It is often considered the most commercial genre of all time, and therefore also one of the most despised, especially by true Rap and R&B artists who feel their genres have been violated. But Nu R&B is also adored, especially by a young female crowd, to which the slow but hooky breakbeat rhythm is addictive and encourages sexual dancing, which in turn attracts a large male audience.
", "songlist": [ "Usher - Yeah! (Official Video) ft. Lil Jon, Ludacris", "Beyoncé - Crazy In Love ft. JAY Z", "Timbaland - The Way I Are ft. Keri Hilson, D.O.E., Sebastian", "Rihanna ft Jay Z Umbrella original video", "Missy Elliott - Get Ur Freak On [Official Music Video]", "Lil Wayne - Lollipop (Official Music Video) ft. Static", "Nelly - Hot In Herre (Official Music Video)", "The Black Eyed Peas - My Humps", "Akon - Smack That (Official Music Video) ft. Eminem", "T-Pain - Up Down (Do This All Day) (Official Video) ft. B.o.B", "Pharrell Williams - Marilyn Monroe (Official Video)" ], "playlistID": "PLb15rbk6I4pNzTVQvEY-_UgSQaUgmqEJG", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNzTVQvEY-_UgSQaUgmqEJG", "spotify-playlist-link": "https://open.spotify.com/playlist/2oBdBnTWXFru7dGTuuIOQT?si=XmSslmZPTnOdvNRQyjMk8Q", "name_zh": "都市碎拍 / 新R&B II" }, "rap11": { "name": "GLITCH HOP & WONKY
故障嘻哈 & 扭曲", "year": "2005", "supergenre-first-tag": "RAP", "supergenre-second-tag": [ "master", "BREAKBEAT" ], "description": "
Glitch Hop是一个晦涩但有氛围的流派，仅存在于实验性碎拍（Breakbeat）/嘻哈（Hip-Hop）艺术家曲目库的一部分，这些艺术家将Glitch噪音和技术与碎拍结合。在零零年代末，Glitch Hop与一些流派（如Crunk）融合成一个更大的风格，可以描述为一种器乐氛围glitch碎拍，称为Wonky。除了受Dubstep影响的节拍，Wonky的主要特征是其严重失真的中频合成器线（贝斯和旋律），似乎因其不稳定或wonky（摇晃）的声音而破损（一个典型的Glitch事物）。\n\nWonky的声音部分受氯胺酮（ketamine）影响，这是一种在零零年代末相当流行的娱乐性药物。氯胺酮对身体运动和跳舞的影响，加上其迷幻性质，解释了Wonky相当奇怪声音的很大一部分。Wonky（又名紫色之声 Purple Sound）和Glitch Hop可以被视为说唱的IDM；用意外声音、中断和非传统技术进行实验。许多Wonky艺术家也驻扎在Warp Records，主要的IDM厂牌。Wonky与后Dubstep（Post-Dubstep）有重叠。代表艺人包括Flying Lotus、J Dilla（后期）、Rustie、Hudson Mohawke以及Prefuse 73。
Glitch Hop is an obscure but atmospheric genre, only retrieved in the part of a repertoire of experimental Breakbeat/Hip-Hop artists who combine Glitch noises and techniques with breakbeats. At the end of the nillies, Glitch Hop merged with a number of genres (such as Crunk) into a much larger style that can be described as a sort of instrumental ambient glitch breakbeat, called Wonky. Apart from Dubstep-influenced beats, the main characteristic of Wonky are its heavily distorted mid-frequency synthlines (both bass and melody) that seem to be broken (a typical Glitch thing) by their unstable or “wonky” sound. The wonky sound is partly influenced by ketamine, which was a rather popular recreational drug at the end of the nillies. Ketamine’s effect on body moving and dancing along with its psychedelic nature, explains a great deal of the rather strange sound of Wonky.

Wonky (aka Purple Sound) and Glitch Hop can be regarded as the “IDM” of Rap; experimenting with unexpected sounds, interrupts and unconventional techniques. Many Wonky artists also reside at Warp Records, the principal IDM label. Wonky has some overlapping with Post-Dubstep and forms therefore another bridge between Rap and UK Garage or Drum ‘n’ Bass, next to Trapstep. Lately these super-genres have become more intertwined leading to some interesting results.
", "songlist": [ "Antipop Consortium - Ghostlawns", "Push Button Objects - 360 Degrees ft Mr Lif, Del & DJ Craze (original version)", "Prefuse 73 - Perverted Undertone", "edIT Ants", "The Glitch Mob - We Can Make The World Stop", "Pretty Lights - Finally Moving", "Rustie - First Mythz (Official Video)", "Funkstörung - Grammy Winners", "Dabrye ft MF Doom - Air" ], "playlistID": "PLb15rbk6I4pPoouSWPNm88yR_5JeoZavy", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPoouSWPNm88yR_5JeoZavy", "spotify-playlist-link": "https://open.spotify.com/playlist/4q2HwFTNaA18gRbTePETdb?si=F4EvFAILR4ymqjk98OckeQ", "name_zh": "故障嘻哈 & 扭曲" }, "brb01": { "name": "ELECTRO
电子放克", "year": "1982", "supergenre-first-tag": "BREAKBEAT", "supergenre-second-tag": [ "master", "RAP" ], "description": "
真正的电子乐（Electro）——碎拍（Breakbeat）的开端——本质上是带有大量泡菜摇滚（Krautrock，特别是Kraftwerk）影响的嘻哈音乐。美国说唱歌手拥抱了德国革命性音乐，并迅速开始在鼓机和音序器的帮助下制作说唱音乐，导致了碎拍的数字采样和循环（而非混音和搓碟，尽管这两种技术仍被大量用于额外声音效果）。Electro很少有人声，更不用说说唱，尽管如果存在，它们通常经过声码器（vocoded）处理。机器人霹雳舞和声码器赋予Electro那种刻板印象中的未来主义机器人感，经常被模仿或恶搞。\n\n三个（！）分离的音乐世界（嘻哈、摇滚和电子）的相遇，其源头在于两个历史关键事件。1977年，臭名昭著的电台DJ The Electrifying Mojo开始在底特律播放放克（Funk）和合成器流行的混音：原初电子乐（Proto-Electro），使黑人说唱社区接触到白人电子音乐。另一方面，老派说唱（Old Skool Rap）的实验在八十年代初发现自己处于不稳定和脆弱的状态。代表艺人包括Afrika Bambaataa（Planet Rock）、Kraftwerk、Egyptian Lover、Cybotron以及Mantronix。
True Electro, the beginning of Breakbeat, is essentially Hip-Hop music with lots of Krautrock influences (particularly Kraftwerk). American rappers embraced the German revolutionary music and quickly started making Rap music with the aid of drum machines and sequencers, resulting in digital sampling and looping of breakbeats (instead of mixing and scratching, although these two techniques were still heavily used for extra sound effects). Electro has few vocals let alone raps, though if they are present they are usually vocoded. Robotic breakdancing and vocoders give Electro that stereotypical futuristic “robo-feel”, often imitated or parodied.

The encounter between three (!) separate music worlds (Hip-Hop, Rock, and Electronic) finds its origin in two historical key events. In 1977, the infamous radio DJ “The Electrifying Mojo” starts playing a mix of Funk and Synthpop in Detroit: Proto-Electro that brings the black Rap community in touch with white electronic music.

On the other hand, the experiment of Old Skool Rap found itself in a precarious and fragile state at the beginning of the eighties. The music never really caught on and was in danger of being suppressed by Synthpop, which was growing exponentially in popularity. In New York, Afrika Bambataa, principal Electro artist and founder, tried to please both the (white) hipster New Wave scene as the (black) Hip-hop scene from the Bronx.

With lots of spacy, robotic sounds and basic synthesizer melodies this was definitely a completely different sound than your average Rap song or any early eighties genre for that matter. It must come as no surprise therefore, that Electro’s mission was accomplished and its influence on further electronic music beyond the scale.
", "songlist": [ "Afrika Bambaataa & The Soulsonic Force - Planet Rock (Official Music Video) [HD]", "Situation Hot (Main Mix)", "C.O.D. In The Bottle", "Whodini - Magic's Wand", "The Smurf", "Bassline - Mantronix", "The Egyptian Lover - Egypt, Egypt", "The Jonzun Crew-Pack jam", "Hashim - Al-Naafiysh (The Soul)", "Twilight 22 - Electric Kingdom", "Boogie Down Bronx Man Parish ft Freeze Force" ], "playlistID": "PLb15rbk6I4pPP089D7XrPKJYc2mPDiD4g", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPP089D7XrPKJYc2mPDiD4g", "spotify-playlist-link": "https://open.spotify.com/playlist/7GKs4c8dz5H4GhOxzuD1Aa?si=lQbafv3oS2-ryhnE3m56Dw", "name_zh": "电子放克" }, "brb02": { "name": "FREESTYLE & BREAKDANCE
自由式 & 霹雳舞音乐", "year": "1986", "supergenre-first-tag": "BREAKBEAT", "description": "
霹雳舞（Breakdancing）是嘻哈（Hip-Hop）文化的基本元素，与嘻哈本身一样古老。然而，作为一种音乐流派它并不真正存在。它是一个可以跳霹雳舞的任何音乐的集合/混音：器乐说唱、Electro、深放克（Deep Funk）、切割和混合的灵魂乐唱片、唱盘主义（turntablism）等。当鼓采样器被发明时，专门为霹雳舞制作的音乐出现了。\n\n一方面，有一种更重、更快、以贝斯驱动的Electro类型叫Freestyle，带有不那么微妙但更朗朗上口的合成器旋律，并配以有力的说唱。Freestyle有时也被称为电子霹雳舞（Electro Breakdance）。另一方面，新的重型和旋律性器乐放克（Funk）唱片——带有大量碎拍和鼓采样——被发布给所有b-boys和fly girls跳舞。这种Breakdance与Freestyle相当不同，但两者在同一个亚文化中紧密相连。Breakdance与Nu Funk或Deep Funk之间的区别可能很小，但Breakdance是真正的碎拍：它使用更明显的碎拍和更多打击乐，同时融入嘻哈元素。代表艺人包括Man Parrish、Newcleus（Freestyle）、The Rock Steady Crew以及 Afrika Bambaataa & Soulsonic Force。
Breakdancing is a fundamental element of Hip-Hop culture, as old as Hip-Hop itself. As a music genre however it doesn’t really exist. It’s a collection/mix of anything one can breakdance to: instrumental Rap, Electro, Deep Funk, chopped and mixed Soul records, turntablism… When the drum sampler was invented, music specifically made for breakdancing popped up. On one hand, there is a much heavier, faster, bass-driven type of Electro called Freestyle, with less subtle and catchier synthesizer melodies accompanied by powerful raps. Freestyle is also sometimes referred to as Electro Breakdance.

On the other hand, new heavy and melodic instrumental Funk records with lots of breaks and drum samples were being released for all the “b-boys” and “fly girls” to dance to. This Breakdance is quite different from Freestyle, but both are strongly tied together in the same subculture. The difference between Breakdance and Nu Funk or Deep Funk can be marginal, but Breakdance is true Breakbeat: it uses more pronounced breaks and more percussion while implementing Hip-Hop elements such as scratching, sampling (often Latin or orchestral in nature) and electronic sounds.

However, Freestyle also has a different meaning (but somewhat related) when it is used to describe Electro-influenced Disco, like Joyce Sims’ “Lifetime Love” for example. This type of Freestyle, heavily influenced by the TR-808 drum computer, is synonymous with “Electrodance” and a forefather to Eurodance.
", "songlist": [ "........FLYING STEPS - Breakin' it Down： hd.. 1080.. hq.._", "Bomfunk MC's - Freestyler (Video Original Version)", "Music Instructor - Rock your body (original)", "eXtatic - The Panic", "DJ M@R - Phaze Zero (Crazy Power Moves)", "DJ Pablo - Battle Time", "Kava - The Gambler", "Mex - Way of the Exploding Crate", "Marc Hype - The Mexican", "RJD2 - 1976", "Smoove - I'm A Man", "Fader Gladiator & Das Lindenschmidt Orchechster - Beat Concerto - BOTY SOUNDTRACK 2004" ], "playlistID": "PLb15rbk6I4pPfwVpnTuzdXBxHyAW5lM9_", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPfwVpnTuzdXBxHyAW5lM9_", "spotify-playlist-link": "https://open.spotify.com/playlist/5t5pmHBcwvkaMU3BZjrOPt?si=MiOLjjlFTdKnNrT0E7Lw8w", "name_zh": "自由式 & 霹雳舞音乐" }, "brb03": { "name": "FLORIDA BREAKS (& FUNKY BREAKS)
佛罗里达碎拍 & 放克碎拍", "year": "1988", "supergenre-first-tag": "BREAKBEAT", "description": "
碎拍（Breakbeat）作为一种独立风格以佛罗里达碎拍（Florida Breaks）开始。没有说唱歌词，没有霹雳舞，几乎没有嘻哈元素；只是一个长长的碎拍被数字循环一遍又一遍。正如人们可以从其诞生地预期的，音乐是阳光和快节奏的，旨在作为面向俱乐部的无尽派对碎拍混合在一起。Florida Breaks基于Electro，但具有更强的贝斯线。\n\n正如芝加哥浩室和底特律高科技舞曲的硬性四拍地板节拍创造了夜生活冲击波一样，佛罗里达碎拍前所未闻的电子碎拍也是如此。凭借过度派对和药物滥用的强大亚文化，Florida Breaks或Electro Breaks可以被描述为嘻哈的Rave。尽管最早的唱片可以追溯到1987-88年，但佛罗里达碎拍场景在1993-94年左右爆发。最终，其他艺术家接受了这种主要是DJ音乐的风格，去除了Electro效果，专注于碎拍同时添加歌词。因此，碎拍逐渐从自发混音（老派说唱）演变为DJ set，最终成为带有专辑和表演的专业制作（放克碎拍 Funky Breaks，以及后来的Big Beat）。代表艺人包括DJ Icey、Baby Anne、Dynamix II以及Jackal & Hyde。
Breakbeat kicked off as a style on its own with Florida Breaks. No Rap lyrics, no breakdancing, almost no Hip-Hop whatsoever; simply one long break digitally looped over and over. As one could expect at its place of birth, the music is sunny and uptempo, meant to mix together as one endless party breakbeat aimed at clubs. Florida Breaks is based on Electro, yet with stronger basslines. Just as the hard four-to-the-floor beat of Chicago House and Detroit Techno created a nightlife shockwave, so did the unheard of electronic breakbeat of Florida Breaks. With a strong subculture of excessive partying and drug abuse, Florida Breaks or Electro Breaks can be described as “the Rave of Hip-Hop”. Although the first records can be traced back to 1987-’88, the Florida Breaks scene breaks loose around 1993-’94.

Eventually other artists picked up this mostly DJ-music, got rid of the “Electro”-effects, and focused on the breaks while adding lyrics. Thus Breakbeat gradually evolved from spontaneous mixing (Old Skool Rap) to DJ-sets and finally professional productions with albums and performances (Funky Breaks, and later Big Beat). Funky Breaks, sometimes also used as a synonym for Florida breaks, uses more retro Funk and less Electro elements and forms the bridge between Florida Breaks and Big Beat.
", "songlist": [ "Dynamix II - Just give the D.J. a break (12＂ Club Version)", "DJ icey - Escape", "Planet Soul - Set U Free (Fever Mix)", "DJ Baby Anne - Trippin' The Bass (Original Mix)", "Tony Faline - Feel The Funk", "Huda Hudia - C'mon Breakdown (Check This Out Mix)", "Plump DJs - Eargasm - The Funk Hits The Fan", "SOL BROTHERS - THAT ELVIS TRACK", "Lionrock - Rude Boy Rock" ], "playlistID": "PLb15rbk6I4pP3G5PTSG5UU5cxtmww3SIh", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP3G5PTSG5UU5cxtmww3SIh", "spotify-playlist-link": "https://open.spotify.com/playlist/0siRXruXSaatxiMoL41G1o?si=vfkqDb6-Su699J2brhSXXA", "name_zh": "佛罗里达碎拍 & 放克碎拍" }, "brb04": { "name": "TRIP HOP
神游舞曲", "year": "1992", "supergenre-first-tag": "BREAKBEAT", "supergenre-second-tag": [ "master", "DOWNTEMPO" ], "description": "
神游嘻哈（Trip Hop）始于布里斯托尔多元文化的嘻哈场景，Massive Attack的成员试图将说唱音乐带给更大的（即白人和欧洲）观众。他们早期对碎拍（Breakbeat）的实验被称为布里斯托尔碎拍（Bristol Breaks/Beats）。因为布里斯托尔也有显著的牙买加人口和（像许多英国城市一样）后朋克（Post-Punk）的历史，Trip Hop成为一种有趣且精心制作的风格混合：部分摇滚、部分说唱、部分氛围音乐（Ambient）、部分牙买加音乐（雷鬼Reggae，但更重要的是Dub）。\n\n大约在同一时间在美国，DJ Shadow开始实验更慢形式的碎拍，同时加入盒外的原声采样：弦乐、吉他、钢琴。尽管美国和英国形式的Trip Hop从不同路径演变，但最终结果是相同的：缓拍碎拍（downtempo Breakbeat），乐器配置极简，但通常戏剧性和/或忧郁。Dub效果和循环也非常常见。Trip Hop创造一个超现实和情绪化的梦世界（因此得名：迷幻嘻哈 trippy Hip-Hop），但带有恰到好处的冲击力以防止成为背景音乐。这使Trip Hop在大麻使用者中非常流行，但也允许了主流突破。代表艺人包括Massive Attack、Portishead、Tricky、DJ Shadow以及Morcheeba。
Trip Hop started off within Bristol’s multicultural Hip-Hop scene where members of Massive Attack tried to bring Rap music to a larger (read: white and European) audience. Their early experiments with Breakbeat were known as “Bristol Breaks or Beats”. Because Bristol also had a significant Jamaican population and (like many British cities) a history of Post-Punk, Trip Hop became an interesting and meticulously crafted blend of styles: part Rock, part Rap, part Ambient, part Jamaican (Reggae, but even more importantly: Dub).

Around the same time in the U.S., DJ Shadow started to experiment with slower forms of Breakbeat while adding out-of-the-box acoustic samples: strings, guitars, piano. Although the American and British forms of Trip Hop evolved from different paths, the end result was the same: downtempo Breakbeat with minimal instrumentation but often dramatic and/or melancholic. Dub-effects and loops are also very common.

Trip Hop creates a surreal and moody dream world (hence its name: trippy Hip-Hop) but with just the right amount of “punch” to prevent becoming background music. This makes Trip Hop very popular among marihuana users, but it also allowed a large mainstream breakthrough, especially when vocals are added. It could’ve been just a small and insignificant Ambient Breakbeat subgenre, but Trip Hop wouldn’t settle for mediocre popularity. After both Massive Attack’s and DJ Shadow’s breakthrough, more artists jumped on the bandwagon with successful results.
", "songlist": [ "DJ Shadow - In⧸Flux", "Massive Attack - Unfinished Sympathy", "Tricky - Aftermath", "Portishead - Glory Box", "Morcheeba - The Sea - Big Calm (1998)", "Sneaker Pimps - 6 Underground - Official Video [HD]", "Thievery Corporation - The Richest Man In Babylon [Official Music Video]", "Rob dougan clubbed to death videoclip" ], "playlistID": "PLb15rbk6I4pNExVEZMi1sj7_98qd8A4yb", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNExVEZMi1sj7_98qd8A4yb", "spotify-playlist-link": "https://open.spotify.com/playlist/2TN0YgXIfqA4hK6By7AJTT?si=8Q3klmPRSl-UYEcMEioEvA", "name_zh": "神游舞曲" }, "brb05": { "name": "CHEMICAL BREAKS & BIG BEAT
化学碎拍 & 大节拍", "year": "1994", "supergenre-first-tag": "BREAKBEAT", "description": "
适合夜间科技黑色或都市黑色电影或游戏的完美配乐，堆满高速动作和肾上腺素：这就是化学碎拍（Chemical Breaks/Beats）。以无尽的鼓滚奏和持续的有节奏的积聚与释放，音乐感觉像一趟复杂碎拍的过山车，通常带有酸性声音风味。Chemical Breaks很少在派对或俱乐部播放，因为它被认为更适合配乐，且因为它很快被重叠的Big Beat所取代。\n\nChemical Breaks，有时被称为Rave 'n' Roll，对许多作曲家来说是上瘾的，他们将其与许多其他流派融合，尤其是摇滚。中频摇滚riff和折衷的傻乎乎采样的使用将Chemical Breaks变成了一个新流派：Big Beat，以其明显的、沉重的碎拍命名。Big Beat使碎拍冲入主流，因为它易于接受、有趣、响亮、朗朗上口，并受到多样化流派的影响：放克律动（Funk grooves）、酸性浩室合成器和Madchester riff。很快，Big Beat艺术家成为大型舞台的头条，摇滚狂欢乐所有人。代表艺人包括The Chemical Brothers、The Prodigy（后期）、Fatboy Slim、The Crystal Method以及Basement Jaxx（早期）。
The perfect soundtrack for a nocturnal technoir or urban noir film or game, stacked with high-paced action and adrenaline: that is Chemical Breaks or Beats. With never-ending drum rolls and constant rhythmic builds & drops, the music feels like a rollercoaster of complex breakbeats, often flavored with acid-sounds. Chemical Breaks is rarely played at parties or clubs, because it is deemed more suitable for soundtracks and because it quickly got replaced by the overlapping Big Beat.

Chemical Breaks, sometimes referred to as “Rave ‘n’ Roll”, was addictive for many composers, who fused it with a lot of other genres, especially Rock. The use of mid-frequency Rock riffs and eclectic silly samples changed Chemical Breaks into a new genre: Big Beat, named after its pronounced, heavy breaks. Big Beat made Breakbeat burst into mainstream, as it was accessible, fun, loud, catchy and influenced by diverse genres: Funk grooves, Acid House synths, and Madchester riffs. Pretty soon, Big Beat artists became headliners for huge stages, Rave’n’rock’n’rolling everyone away. The mainstream success and eclectic nature of Big Beat ensured a heavy backlash by more purist producers, though the genre was a backlash itself, against the exaggerated seriousness of “intelligent” Techno label Warp and consorts.
", "songlist": [ "The Chemical Brothers - Chemical Beats", "Fluke - Absurd", "The Crystal Method - ＂Comin' Back＂ [Official Video]", "Fatboy Slim - Right Here, Right Now [Official 4K Video]", "Overseer - Basstrap", "Billy Club", "Lunatic Calm - Leave You Far Behind (Original Video)", "Andy Hunter - Come On", "07 We Got The Gun", "PropellerHeads - SpyBreak!", "Eboman - Donuts With Buddah [Edit]" ], "playlistID": "PLb15rbk6I4pP_LRRk2RcpRjEg5YET-M1z", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP_LRRk2RcpRjEg5YET-M1z", "spotify-playlist-link": "https://open.spotify.com/playlist/0Hs1zlpNSQcTcoaU0siH5K?si=CqRW1SQZQiqG0PJ-3Iz_XQ", "name_zh": "化学碎拍 & 大节拍" }, "brb06": { "name": "UK GARAGE (2-STEP & SPEED GARAGE)
英伦车库 / 两步 & 速度车库", "year": "1997", "supergenre-first-tag": "BREAKBEAT", "supergenre-second-tag": [ "master", "DRUM'N'BASS" ], "description": "
鼓打贝斯（Drum 'n' Bass）很酷，因为它是地下的且崭新的。问题是它听起来太重和太硬核，不适合大众（Hardstep、Techstep、Darkcore等），并且它吓跑了太多女性不来俱乐部。英国上层阶级设计师和时尚达人创造了他们自己的时髦版Drum 'n' Bass，特别旨在增加女性俱乐部出席率。通过将车库浩室（Garage House）与老派丛林（Old Skool Jungle）融合，并加入采样（新灵魂乐 Neo-Soul）人声，一种流畅、有质感的音乐被创造出来，与常规Drum 'n' Bass几乎没有共同之处。\n\n精细、高音的碎拍和精致的军鼓使这种音乐不像任何人在车库会期待的东西，尽管它被命名为UK Garage。这是花哨的碎拍。快速但温柔，贝斯驱动但带有微妙的音色。UK Garage的第一种形式是一种快速的切分车库浩室类型，称为速度车库（Speed Garage）。Speed Garage丰富的打击乐和沉重的贝斯使车库浩室的影响几乎不可察觉，因此仍然不够好以吸引大量女性人群。然而，这一流派确实立即吸引了主要唱片公司的注意。代表艺人包括MJ Cole、Artful Dodger、Wookie、Zed Bias以及DJ Luck & MC Neat。
Drum ‘n’ Bass was hip because it was underground and brand new. The problem was that it sounded too heavy and hardcore for the masses (Hardstep, Techstep, Darkcore…) and that it detracted too many women from going to the clubs. British upper class designers and fashionistas created their own hipster version of Drum ‘n’ Bass, particularly aimed at increasing female club presence. By merging Garage House with Old Skool Jungle and adding sampled (Neo-Soul) vocals, a smooth, textured music was being created that had little in common with regular Drum ‘n’ Bass. Fine, hi-pitched breakbeats and delicate snares made this music unlike anything one would expect at a garage, although it was named UK Garage. This was fancy Breakbeat. Fast, but gentle, bass-driven but with a subtle timbre.

The first form of UK Garage was a rapid type of syncopated Garage House, known as Speed Garage. Speed Garage’s abundant percussion and heavy bass made the influences from Garage House barely noticeable and thus was still not good enough to attract a large female crowd. The genre did however attract immediate attention from major record labels. Speed Garage became influenced by Ragga and Drum ‘n’ Bass (particularly Hardstep) which altered its time signature in two beats per bar instead of four, which is known as “2-Step”. Despite these influences, 2-Step Garage abandoned bass in favor of sharp but soft treble and returned the sound of Garage House with a touch of R&B.

These two UK Garage genres marked the start of a large music family - also known as UK Garage - that led to Dubstep and UK Bass. But 2-Step is also the beginning of Nu R&B. Not only due to its sound and rhythm, but by spreading a culture of upper-class clubbing that became notorious (and eventually despised) for its cocain use and promiscuous encounters.
", "songlist": [ "Shanks & Bigfoot - Sweet Like Chocolate (Official Video)", "2 Step ⧸Groove Chronicles - Stone Cold", "Dj Luck & MC Neat - A Little Bit Of Luck (Official Video)", "T2 feat. Jodie - Heartbroken (Wideboys London Mix)", "So Solid Crew - 21 Seconds (Official HD Video)", "tuff jam & todd edwards - wanting Jesus", "UK Garage - Amira - My Desire (Dreem Teem Remix)", "Double 99 - RIP Groove (Original)", "Smokin Beats - Dreams - Feat Lyn Eden (Original Mix)", "Scott Garcia Ft MC Styles - A London Thing (Original Full Length Mix)" ], "playlistID": "PLb15rbk6I4pM87zBwudvEErIpMT3dHw9W", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM87zBwudvEErIpMT3dHw9W", "spotify-playlist-link": "https://open.spotify.com/playlist/4ZxFfsJUEcLvidF5o92H24?si=XThf_lYJRI2ygW4yFtH7CA", "name_zh": "英伦车库 / 两步 & 速度车库" }, "brb07": { "name": "NU SKOOL BREAKS
新派碎拍", "year": "1998", "supergenre-first-tag": "BREAKBEAT", "description": "
像几乎所有舞曲超级流派一样，碎拍（Breakbeat）有一种纯粹主义对折衷主义、老派对（新派）、回归（根源）对前进（跨界）的来回极性。新派碎拍（Nu Skool Breaks）是一个误导性术语，因为它试图在Big Beat爆发后保持老派精神。Big Beat采取了不同于在化学/酸性/放克/佛罗里达碎拍（老派）中找到的重复性、驱动性舞曲节拍的另一种方法。最终碎拍听起来更像摇滚而非舞曲。新派想要扭转潮流，作为一种快速（约135bpm或更高）、器乐的、脉冲式俱乐部节拍。\n\n新派与老派的不同之处在于使用计算机生成的、完美化的现代声音和受Drum 'n' Bass影响的次声波、轰鸣贝斯。新派碎拍可能看起来很像一种放慢了的丛林（Jungle），因为它们都起源于伦敦，同样黑暗和威胁性。高科技舞曲和Electro的元素也可以是可追踪的。受渐进浩室（Progressive House）启发，一些新派碎拍艺术家开始创造一种更驱动、有氛围和更轻的声音，称为渐进碎拍（Progressive Breaks）。代表艺人包括Plump DJs、Stanton Warriors、Adam Freeland、Meat Katie以及Elite Force。
Like almost all Dance super-genres, Breakbeat has a back-and-forth polarity of purism versus eclecticism, old skool versus new skool, back (to the roots) versus further (crossing over). Nu (Skool) Breaks is a misleading term however, as it attempts to keep the old skool spirit alive after the Big Beat explosion. Big Beat took another approach from the repetitive, driven dance beats found in Chemical/Acid/Funky/Florida breaks (the old skool). Eventually Breakbeat sounded more like Rock than Dance. Nu-Skool wanted to turn the tide as a fast (around 135bpm or more), instrumental, pulsing club beat. The Nu-Skool differs from the old one in the use of computer-generated, perfected modern sounds and a subsonic, booming bass, influenced by Drum ‘n’ Bass. Nu Skool Breaks might seem a lot like a sort of slowed-down Jungle (as they both originated in London), being equally dark and menacing. Elements of Techno and Electro might be traceable as well.

Inspired by Progressive House, some Nu Skool Breaks artists started to create a more driven, atmospheric and lighter sound, known as Progressive Breaks. Alongside Progressive Breaks (which is regarded as a subgenre, not something new), more and more Big Beat artists start to cooperate with Nu Skool artists to revitalize their sound.
", "songlist": [ "Freeland - We Want Your Soul (Official Video)", "Morpheus (Original Mix)", "Rennie Pilgrem - Paranoia", "Tayo - Fire Good", "Friction & Spice - You Make Me Feel So Good (original)", "Ils Revolver", "Freq Nasty - Goose", "Digital Witchcraft - Snowday [2004]", "Hybrid - Just For Today", "Momu - Donner Pass (Original mix)" ], "playlistID": "PLb15rbk6I4pPwaJoIrunjPaazS5PEJhWK", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPwaJoIrunjPaazS5PEJhWK", "spotify-playlist-link": "https://open.spotify.com/playlist/4mzLa8YT8s8szZiNn44BNl?si=pfqq24I7QJqfDsHJKWIU6w", "name_zh": "新派碎拍" }, "brb08": { "name": "BROKEN BEATS
破碎节拍", "year": "1999", "supergenre-first-tag": "BREAKBEAT", "description": "
破碎节拍（Broken Beats/Beat/Breaks）是那些超级融合流派之一，将所有可能的影响结合成一个万事通。这里的主要成分是浩室（House）、高科技舞曲（Techno）、丛林（Jungle）、灵魂乐（Soul）和大量爵士乐（Jazz），产生了一种更柔和、缓拍（downtempo）的碎拍类型。受碎拍影响的爵士类型如酸性爵士（Acid Jazz）和新爵士（Nu-Jazz）密切相关（也像Broken Beats一样是融合），但它们核心上不是碎拍。\n\n在Broken Beats中，这个核心是从切割（破碎）节拍精心组装而成的。这一过程完全借助计算机进行，导致非常复杂的、切分的节奏，通常是glitchy的。以这种方式，破碎的方面被突出。加重军鼓进一步增强这种流派的断续打击乐。人声通常以深情的方式出现，使Broken Beats难以归类到一个超级流派。其余的音乐可以按菜单完成。艺术家是否具有更多D'n'B、R&B、浩室或爵士背景的事实，将决定它走向哪个方向。许多Broken Beats制作人具有Drum 'n' Bass背景，并受到2-Step的启发，正在寻找新的、实验性的答案来应对21世纪的D'n'B。代表艺人包括Bugz in the Attic、4hero、Jazzanova、Mark de Clive-Lowe以及Dego。
Broken Beats (or Beat or Breaks) is one of those “superfusion” genres, combining all possible influences into a jack-of-all-trades. The main ingredients here are House, Techno, Jungle, Soul and lots of Jazz, resulting in a softer, downtempo type of Breakbeat. Breakbeat-influenced types of Jazz like Acid Jazz and Nu-Jazz, are closely related (and also fusions like Broken Beats) but they are not Breakbeat at their core. In Broken Beats, this core is carefully assembled from cut (broken) beats. This process occurs entirely with the help of the computer, resulting in very complex, syncopated rhythms, often glitchy. In this manner, the “broken” aspect becomes highlighted. Accentuated snares further enhance the stuttering percussion of this genre. Vocals often appear in a soulful way, making it hard to classify Broken Beats into one super-genre. The rest of the music can be completed à la carte. The fact whether the artist has more of a D’n’B, R&B, House, or Jazz background, will decide which direction it will go. Many Broken Beats producers have a Drum ‘n’ Bass background however, and were in search of a new, experimental answer to deal with D’n’B in the 21st century, inspired by 2-Step. Broken Beats is sometimes also referred to as “West London”, or “BRUK” (Broken Beats UK) where the genre originated.
", "songlist": [ "IG Culture - Girl U Need A Change Of Mind", "Domu - Unfazed", "Bugz In The Attic - It Don't Work Like That", "Volcov - Sweet Love", "Modaji ft. Jag - No Disguise", "Afronaught - Transcend Me", "neon phusion - timeless motion", "'Make A Baby' by Vikter Duplaix", "NEW SECTOR MOVEMENTS Groove Now (1997)" ], "playlistID": "PLb15rbk6I4pMZmDTjjfpIg6Tf6zc7kHT-", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMZmDTjjfpIg6Tf6zc7kHT-", "spotify-playlist-link": "https://open.spotify.com/playlist/7mIjMGVfPpwtH11pzkHNvP?si=KTzSRdYkRR6IaaQQBwHryQ", "name_zh": "破碎节拍" }, "brb09": { "name": "BREAKBEAT GARAGE & GRIME
碎拍车库 & 灰土", "year": "2001", "supergenre-first-tag": "BREAKBEAT", "supergenre-second-tag": [ "master", "DRUM'N'BASS" ], "description": "
在千禧年之交，UK Garage和2-Step失去了势头。场景变成两个不同方向：Nu Dark Swing——一种更黑暗、更情绪化的贝斯线专注形式，预示Dubstep——以及Breakstep——一种更专注于碎拍的形式。Breakstep即碎拍车库（Breakbeat Garage）留下了所有浩室（House）和花哨的影响，几乎立即一代新的非常年轻的艺术家开始在其上添加说唱人声和更多Drum 'n' Bass元素。\n\n然而，96年和98年的老UKG阶级发现很难与这样一种侵略性风格相处，代沟随之而来。这场战斗很快被年轻人赢得，因为老阶级已经失去了与日常（街头）生活的所有联系。从自己卧室的舒适中，英国孩子们开始制作家庭制作的音乐，以较慢的车库速度（140 bpm）呈现类似D'n'B的碎拍，带有黑暗、肮脏的押韵：Grime（污垢/地下说唱）诞生了。由于互联网流媒体，Grime迅速征服全球。其暴力的锯齿波贝斯线在低保真riddims上——由于廉价、DIY软件——在一个创新流派很少的时代是真正独特和原创的。Grime连接了说唱、碎拍和鼓打贝斯，并将车库带回街头。代表艺人包括Dizzee Rascal、Wiley、Kano、Skepta以及Stormzy。
At the turn of the millennium, UK Garage & 2-Step lose their momentum. The scene changes into two different directions: Nu Dark Swing, a darker and moodier bassline focused form preluding Dubstep, and Breakstep, a more breakbeat focused form. Breakstep aka Breakbeat Garage leaves all House and fancy influences behind, and almost immediately a new garde of very young artists starts adding rap vocals and more Drum ‘n’ Bass elements on top of this. The old UKG classes of ’96 and ’98 however, found it hard to get along with such an aggressive style and a generational gap ensues. This battle was soon won by the youth, as the “old” garde had lost all connection with everyday (street) life. From the comfort of their own bedrooms, British kids started to make home produced music, featuring D’n’B-like breaks at a slower Garage tempo (140 bpm) with dark, ‘grimy’ rhymes: Grime is born. Thanks to internet streaming, Grime rapidly conquers the globe. Its violent sawtooth basslines onto lo-fi riddims (due to inexpensive, DIY software) was truly unique and original in an era of few innovative genres. Grime bridges Rap, Breakbeat, and Drum ‘n’ Bass, and brings Garage back to the streets, to the youth and to the clubs. Its popularity and subsonic quality becomes exposed by its variety of aliases (8bar, UK Bashment, Sub Low, Eskibeat), and it would have been the star of the nillies if Dubstep didn’t claim that prize shortly after.
", "songlist": [ "Roll Deep ＂When I'm Ere＂ music video", "The Bug - 'Function' ft Manga", "Musical Mob - Iron", "D Double E, Durrty Goodz, Kano & Wiley - Destruction VIP", "Skepta - Man (Official Video)", "Deekline - I Don't Smoke (Original Mix)", "Stanton Warriors - MPC (Official Video)", "CHIPMUNK X STORMZY - HEAR DIS (MUSIC VIDEO)" ], "playlistID": "PLb15rbk6I4pOmZF1O7Q99fiD6Mak95U1V", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOmZF1O7Q99fiD6Mak95U1V", "spotify-playlist-link": "https://open.spotify.com/playlist/1UEIgByGszMMx6YnV3XZ1V?si=VV-xxMM_Qc-4qgMCAD1aJQ", "name_zh": "碎拍车库 & 灰土" }, "brb10": { "name": "BASSLINE & UK FUNKY
低音线 & 英伦放克", "year": "2004", "supergenre-first-tag": "BREAKBEAT", "supergenre-second-tag": [ "master", "DRUM'N'BASS" ], "description": "
英国Grime场景一直是一个暴力、犯罪、贫民区的场景，让人想起很多匪帮说唱（Gangsta Rap），但随着Dubstep的崛起，黑暗、缓慢和怪异这些形容词可以被添加到其个性中。这吓跑了太多女孩不来俱乐部，UK Garage不得不重新应用其自身存在的理由。历史重演，速度车库（Speed Garage）被用来改变Grime，使女性人群得到充分代表。\n\n自然地，Dubstep也有一定影响，更连续的贝斯声音导致了这种新流派的名称：Bassline。谢菲尔德（Sheffield）是英国Grime和Bassline场景的滋生地；特别是俱乐部Niche，在暴力、毒品使用和帮派犯罪事件后不得不关闭。俱乐部的名字也恰当地被用作Bassline的同义词：这是一个拥有封闭亚文化的好流派。因为Bassline甚至比Speed Garage更快且仍然相当侵略性，UK Funky必须确保平衡性别比例的技巧不能失败，并使用放克浩室和深浩室（Funky & Deep House）以及Dub和Broken Beats来创造一种异国情调、打击乐重的UK Garage类型。几乎可以说这是部落车库（Tribal Garage）。代表艺人包括T2、DJ Q、TS7（Bassline）；Crazy Cousinz、Donae'o（UK Funky）。
The UK Grime scene had always been a violent, criminal, ghetto scene reminding a lot of Gangsta Rap, but with the rising advent of Dubstep the adjectives “dark”, “slow” and “weird” could be added to its personality. This detracted too many girls from coming to the clubs and UK Garage had to reapply its very reason of existence to itself. History became repeated and Speed Garage was used to alter Grime in such a way that the female crowd was well represented. Naturally, Dubstep had some influence as well and a more continuous bass sound led to the name of this new genre: Bassline. Sheffield was the breeding ground for the UK Grime and Bassline scene; especially the club Niche, which had to close down after incidents of violence, drug use and gang criminality. The name of the club is also appropriately used as a synonym for Bassline: it's a nice genre with a secluded subculture.

Because Bassline was even faster than Speed Garage and still quite aggressive, UK Funky had to make sure the trick to even out gender ratio could not fail and used Funky & Deep House as well as Dub and Broken Beats to create an exotic, percussion-heavy type of UK Garage. One could almost say this was “Tribal Garage”, with houselike tempo and synths.
", "songlist": [ "Dexplicit Ft. Lauren Mason- Not your baby (DJ Q special)", "T2 - Heartbroken (Ft. Jodie) official video", "Smasher - Watch Your Back", "TS7 - Heartlight (Ft. Taylor Fowlis) (Official Video)", "SUPA D - SHAKE LOOSE", "Karizma - Rock Away ( Wave Them Off ) Uk Funky Anthem", "Addictive feat. Trilla - Bad Girl (Champion VIP) ＊UK Funky＊", "Mosca - Bax", "Omar & Zed Bias - Dancing feat. Fox" ], "playlistID": "PLb15rbk6I4pNY7ZPhwDfC1BylnYmwrBlD", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNY7ZPhwDfC1BylnYmwrBlD", "spotify-playlist-link": "https://open.spotify.com/playlist/1O8fjSF6NYn3kB3Hqnoxmz?si=7pa2GMllTT60wVGVwWa0Cg", "name_zh": "低音线 & 英伦放克" }, "brb11": { "name": "EDM TRAP / TRAPSTEP
EDM陷阱 / 陷阱回响", "year": "2012", "supergenre-first-tag": "BREAKBEAT", "description": "
Trap强烈演变：它如此多地跨界到电子舞曲音乐中，以至于几乎没有嘻哈（Hip-Hop）留下了。它也变得更快速，达到140bpm，超出了正常的说唱（Rap）光谱。这种新型碎拍被证明如此成功，以至于一种新的器乐EDM流派出现了。听同样的名称，很难分离这两个流派（Trap Rap和较新的EDM Trap，由于与Dubstep的融合，也被称为Trapstep）。然而，这两个traps之间的差异很大。\n\nTrapstep仅使用电子（主要是基于计算机的）声音，没有唱盘，也没有说唱歌词或R&B采样。Trapstep是舞池DJ音乐，不是说唱音乐。由于没有歌词，Trapstep更多地关注drop：能量在积聚中强烈可感知，积聚通常被延长。drop本身尽可能高潮化，由非常深的合成器贝斯线组成。引人注目的是，嘻哈文化再次以全新风格重振了舞曲音乐。Trap变得如此流行，以至于与已经围绕drop为中心的其他流派融合。Trap与电子浩室（Electro House）和Moombahton融合成Trap House和Trap-ah-ton。代表艺人包括RL Grime、Flosstradamus、Baauer、TNGHT以及UZ。
Trap evolves strongly: it crosses so much over into electronic dance music that there is barely anything Hip-Hop left. It also becomes faster, reaching a bpm of 140, outside of the normal Rap spectrum. This new type of Breakbeat proves so successful that a new, instrumental EDM genre emerges. Listening to the same name, it can be hard to separate these two genres (Trap Rap and the newer EDM Trap, which is also referred to as Trapstep because of the fusion with Dubstep). The difference between these two “traps” is large though. Trapstep uses only electronic (mainly computer-based) sounds, no turntables, and it has no rap lyrics or R&B samples. Trapstep is dancefloor DJ music, not Rap music. Due to the absence of lyrics, Trapstep focuses a lot more on the drop: the energy is strongly tangible in the build-up, which is often prolongued. The drop itself is as climatic as possible and consists of very deep synth basslines.

It’s striking that once again Hip-Hop culture reinvigorates Dance music with a whole new style. Trap becomes so popular that it merges with other genres that were already focused around the drop. Trap fuses with Electro House and Moombahton into Trap House and Trap-ah-ton respectively. All these syncopated “drop genres” have become one big melting pot after 2013, making the musical future of EDM even harder to predict.
", "songlist": [ "TNGHT - Higher Ground (Hudson Mohawke x Lunice)", "Baauer - Harlem Shake [Official Audio]", "Flosstradamus feat. Casino - Mosh Pit (Official Video) [Explicit]", "Yellow Claw - Shotgun ft. Rochelle (Official Music Video)", "RL Grime - Scylla", "UZ - Trap Shit V17 [Official Music Video]", "Bro Safari feat. DJ Craze - Spooked", "TroyBoi - Afterhours (feat. Diplo & Nina Sky) [Official Music Video]", "Hudson Mohawke - Chimes", "Aero Chord - Surface", "The Chainsmokers - Don't Let Me Down (Official Video) ft. Daya" ], "playlistID": "PLb15rbk6I4pP1M6UDQWIfcdy_XILGr_qG", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP1M6UDQWIfcdy_XILGr_qG", "spotify-playlist-link": "https://open.spotify.com/playlist/4Vxin4Q397pDvu6KfQTQFg?si=PRfUePwjSZ6ViAhMMTcuDA", "name_zh": "EDM陷阱 / 陷阱回响" }, "dnb01": { "name": "OLD SKOOL JUNGLE & OLD SKOOL DRUM ‘N’ BASS
老派丛林 & 老派鼓打贝斯", "year": "1992", "supergenre-first-tag": "DRUM 'N' BASS", "description": "
短暂但激烈的Rave亚文化的结束预示了一个新亚文化的开始。沉重的硬核碎拍被切碎并粘合在一起，创造出加速的、滚动的、切分的节奏。起初，这种崭新音乐有两个鲜明的面孔，后来融合为一：一方面，有一种更柔和、有氛围、理性的节奏方法，使用滚动来伴随有质感的旋律（老派鼓打贝斯 Old Skool Drum 'n' Bass）。另一方面，有情感化的方法——被追猎的一代的声音：偏执的、粗暴的Ravers，受到Ragga（丛林 Jungle）匹配速度和凶猛性的影响。\n\nDrum 'n' Bass是伦敦西区文化的一部分，那里更上层阶级和精致，而Jungle在伦敦东区的俱乐部播放。这里是英国黑人青年的家，通常是下层阶级和街头智慧的。Jungle亚文化是穿着英式外套的说唱遇见Ragga——咄咄逼人、好战和亵渎。Jungle拒绝了1992年变得太过难以忍受的Rave文化。以威胁性采样、犯罪主题，以及故意使用可卡因和大麻，Jungle成为一种阴暗的地下运动，尽管它保留了Rave的速度。代表艺人包括Goldie、LTJ Bukem、Roni Size、Shy FX以及DJ Hype。
The end of the short but intense Rave subculture preluded the beginning of a new one. Heavy hardcore breakbeats were chopped up and glued together to create an accelerated, rolling, syncopated rhythm. In the beginning this brand new music had two distinctive faces, later blending into one: on one hand there was a softer, ambient, rational approach to the rhythm that used the “rolls” to accompany textured melodies (Old Skool Drum ‘n’ Bass). On the other hand, there was the emotional approach, the voice of a hunted down generation: paranoid, ruffneck Ravers that were influenced by the matching tempo and fierceness of Ragga (Jungle). Drum ‘n’ Bass was part of west side London culture, which was more upper class and “sophisticated”, whereas Jungle was played in the clubs of east side London. Here was the home of the black British youth, usually lower class and streetwise: picture short skirts, training suits, bling bling, sunglasses. Jungle subculture is Rap meets Ragga in a British jacket - in your face, militant and profane. Jungle rejected Rave culture which had become too much to bear in 1992. With menacing samples, criminal themes, and a deliberate use of cocaine and marihuana instead of XTC, the war against (white) Rave was on.

Drum ‘n’ Bass refrained from these convictions and focused on the music itself. Jungle versus Drum ‘n’ Bass polarity quickly faded and in the broad sense (the super-genre) these genres have become synonyms. Metalheadz, the principal and one of the first Drum ‘n’ Bass labels, never differentiated between genres either. Raggamuffin’ style Jungle led to the introduction of toasting MC’s who would accompany the music live with improvised shouts and scattering catchphrases, like a sports coach gone mad, and eventually making even the white man dance.
", "songlist": [ "Goldie - Inner City Life", "DJ Rap - Tibetan Jungle", "Kemistry & Storm - Signature (1994)", "Remarc - Drum N' Bass Wise (1994) HQ", "Q Project - Champion Sound", "Dillinja - Twist 'Em Out", "DJ Fabio - Kings of the Jungle VI", "M Beat feat General Levy Incredible", "Congo Natty Junglist" ], "playlistID": "PLb15rbk6I4pPY0pPG7YYQqV1GgVPc_qvj", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPY0pPG7YYQqV1GgVPc_qvj", "spotify-playlist-link": "https://open.spotify.com/playlist/68mw6q9E73CuVk8b1wKnpE?si=9iuNOCMQS1SGbYo1vWChwA", "name_zh": "老派丛林 & 老派鼓打贝斯" }, "dnb02": { "name": "DARKCORE & DARKSTEP
暗核 & 暗步", "year": "1993", "supergenre-first-tag": "DRUM 'N' BASS", "supergenre-second-tag": [ "master", "HARDCORE" ], "description": "
先锋丛林（Jungle）流派的三位一体（Jungle、Drum 'n' Bass和Darkcore）几乎同时出现，至今仍很难说谁影响了谁。虽然D'n'B和Jungle听起来相当相似，但Darkcore显然是不同的东西。它字面上是Rave的阴暗面：摇头丸成瘾者（许多Ravers都是）面对密集毒品滥用的副作用。Darkcore是后摇头丸配乐：偏执、幻觉和抑郁的噩梦，被政府对Rave派对的镇压所强化。\n\n除了戒断的听觉等效物，Darkcore也是对碎拍硬核（Breakbeat Hardcore）日益荒谬化的反应：太快乐、太卡通化、太幼稚。令人不安的声音、尴尬的时间拉伸技术和恐怖电影采样，结合180bpm的超快速度，提供了足够的弹药来对抗愚蠢的Rave场景。注意：这一场景之后以快乐硬核（Happy Hardcore）和手袋浩室（Handbag House）成功回击。Darkcore和Techstep之后，Darkstep出现在Jungle舞台上（约1997-98年）。Darkstep可以被描述为Darkcore和Techstep的融合；它也以恐怖采样和失真的Ragga式贝斯线为特色。代表艺人包括DJ Trace（Darkcore）、Ed Rush、Technical Itch、Dom & Roland以及Current Value。
The trinity of pioneering Jungle genres (Jungle, Drum ‘n’ Bass, and Darkcore) almost emerged simultaneously and it’s still very hard to say which influenced which. While D’n’B and Jungle sounded quite similar, Darkcore clearly was something different. It was literally the dark side of Rave: ecstasy addicts (as were many Ravers) being confronted with the side-effects of intensive drug abuse. Darkcore was the after-XTC-soundtrack: a nightmare of paranoia, hallucinations, and depression, being intensified by government suppression of Rave parties. Besides the aural equivalent of withdrawal, Darkcore was also a reaction to the increasing ridiculousness of Breakbeat Hardcore: too happy, too cartoonish, too childish. Disturbing sounds, awkward time-stretching techniques, and horror film samples combined with an ultrafast tempo of 180bpm, provided adequate ammunition to combat the “stupid” Rave scene. Take note: this scene struck successfully back afterwards with Happy Hardcore and Handbag House.

After Darkcore and Techstep, Darkstep takes place on the Jungle stage (around 1997-’98). Darkstep can be described as a fusion of Darkcore and Techstep; it also features horror samples, and distorted basslines and has quite complex and dissonant rhythms. Darkstep is recognizable by undoubtedly being the darkest and hardest of all Drum ‘n’ Bass subgenres, which is quite a feat. Darkstep is a machine out of hell on a zealous rampage.

Darkstep and Techstep evolve in the 21st century into Dark Drum ‘n’ Bass aka Darkside: a more modern and eclectic approach that can also serve as an umbrella term for Hardstep, Techstep, Darkcore, Darkstep and Neurofunk.
", "songlist": [ "Grooverider - Where's Jack the Ripper", "Kenny Ken - Project One", "Jumping Jack Frost - Pornography ('94 Remix)", "Randall & Andy C - Sound Control", "Mickey Finn - Reality", "Squadron", "Pendulum - Blood Sugar [1080p HD]", "Technical Itch - The Rukus", "Dj Hidden-Chosen", "Rawthang - Unity" ], "playlistID": "PLb15rbk6I4pNmYZP3A8tkLzjMAk9tb8Gt", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNmYZP3A8tkLzjMAk9tb8Gt", "spotify-playlist-link": "https://open.spotify.com/playlist/5iQqr76bHihb2xEG8pFsna?si=P3L9-SHNQ8Kpr4TILTaq3w", "name_zh": "暗核 & 暗步" }, "dnb03": { "name": "HARDSTEP & TECHSTEP
硬步 & 科技步", "year": "1995", "supergenre-first-tag": "DRUM 'N' BASS", "description": "
到九十年代中期，Rave（在英国）完全死亡。一个新的亚文化从其错误中吸取了教训。不再有巨大的临时派对，而是一个播放反叛Drum 'n' Bass的海盗电台网络。这种硬核Drum 'n' Bass（硬步 Hardstep）是简单、纯粹主义的音乐，但具有非常重的次低音线、快速的2步鼓模式和大量来自说唱（Rap）、Ragga和Dub的影响和引用。它或多或少有与意识说唱（Conscious Rap）相同的心态：一支以回归根源（黑人文化）音乐的地下军队。\n\n然而，Hardstep的历史相当小且短暂。它有速度和打击乐，但缺乏旋律和氛围。大约在1996-97年，Hardstep被Darkcore的继承者Techstep挤到一边。这种技术性的Drum 'n' Bass，受到残酷和工业高科技舞曲（Brutal and Industrial Techno）的影响，与放克、精致的底特律声音几乎没有共同之处。充满大量处理的reese贝斯线和所谓的butcher beats，这应该被称为工业Drum 'n' Bass：响亮、不妥协、怪诞、虚无主义的工厂噪音。代表艺人包括Ed Rush & Optical、Trace、No U-Turn（Techstep）；DJ Hype、Zinc、Pascal（Hardstep）。
By the mid nineties, Rave (in the UK) was completely dead. A new subculture had learned from its mistakes. No more huge pop-up parties, but a pirate radio network broadcasting revolting Drum ‘n’ Bass instead. This hardcore Drum ‘n’ Bass (Hardstep) was simple, purist music but with a very heavy subbassline, fast, 2-step drum patterns, and lots of influences from and references to Rap, Ragga, and Dub. It had more or less the same mentality as Conscious Rap: an underground army with back to the roots (black culture) music. Hardstep’s history however, was rather small and shortlived. It had speed and percussion, but lacked melody and atmosphere.

Around 1996-’97, Hardstep gets pushed aside by the successor of Darkcore: Techstep. This technical Drum ‘n’ Bass, influenced by Brutal and Industrial Techno barely had anything in common with the funky, sophisticated Detroit sound. Filled with heavily manipulated reese-basslines and so called “butcher beats”, this should’ve been called Industrial Drum ‘n’ Bass: loud, uncompromising, grotesque, nihilistic factory noise. Techstep almost immediately saw the potential of heavy D’n’B thanks to Hardstep, and took it up another notch. Full of sound effect experimentation, it was an antimusical sadomasochistic soundtrack, just like early Industrial but painted for a gritty post-Rave selfish world, instead of a conceptual movement.

Though Techstep is stylistically more linked to its predecessor Darkcore and its successor Darkstep, its joining with Hardstep illustrates D’n’B’s rapid transformation in the mid nineties and what that expresses: a requiem for a lost Rave dream, ruptured into an aural nightmare, like Heavy Metal after the flower power age. The rise in popularity of militant, underground Drum’n’Bass coincided with (and became propelled by) the Criminal Justice Act of 1994 in the UK, which prohibited parties with “repetitive beats” (which Drum ‘n’ Bass did not have).
", "songlist": [ "Dieselboy 'Midnight Express'", "Evol Intent - Flipside", "Ice Minus - Babylon", "ewun - guntalk", "Dred Bass - Technology", "Ed Rush & Optical - Chubrub [Full Version]", "Calyx & Teebee & Hive - Salvation", "Doc Scott - Michigan", "Tudor Rose", "Bad Company - The Nine" ], "playlistID": "PLb15rbk6I4pNcZ5ntPMRi9bxo2_PLG6T5", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNcZ5ntPMRi9bxo2_PLG6T5", "spotify-playlist-link": "https://open.spotify.com/playlist/54mD6LGcdO25c2MoW3dsWH?si=oOCMoMs7RUSQ3yY8wYG7TQ", "name_zh": "硬步 & 科技步" }, "dnb04": { "name": "JUMP UP
跳跃", "year": "1996", "supergenre-first-tag": "DRUM 'N' BASS", "description": "
Drum 'n' Bass在极短的时间跨度内（1995-97年）转化为子流派的雪崩。这些流派比以前显著更加复杂和精致：Hardstep、Techstep、Darkstep和Jazzstep。主要原因在于硬盘录音机（HDR）的紧凑性和可负担性，取代了传统的多轨录音机，并且还允许非线性编辑。由于Drum 'n' Bass与大麻的历史联系（早期D'n'B俱乐部文化中作为对Rave摇头丸过度的反应而受到青睐），随着这些复杂子流派的出现，一个意想不到的问题出现了。\n\n在吸大麻时静止地点头（甚至坐下）的行为变得普遍，这警醒了一些制作人。他们希望人群狂欢，这导致了一个专门旨在做到这一点的流派：Jump-Up。肯定比早期Drum 'n' Bass更重和更以贝斯为中心，但仍比Hardstep和Techstep不那么黑暗，Jump Up寻求结合丛林最流行的元素，为此它有时也受到鄙视：简单、朗朗上口的旋律、Ragga贝斯线和快速鼓循环。因为音乐专门针对跳舞，它最终引起了主流观众的共鸣，成为Drum 'n' Bass中最流行和最易接受的形式。代表艺人包括Aphrodite、DJ Zinc（Jump-Up时期）、Macky Gee、Hazard以及Mampi Swift。
Drum ‘n’ Bass transformed in an avalanche of subgenres in a minimal time-span (1995-’97). These genres were significantly more complex and sophisticated than before: Hardstep, Techstep, Darkstep, and Jazzstep. The main reason for this was the compactness and affordability of hard disk recorders (HDR), replacing traditional multi-track (reel-to-reel) recorders, and which also allowed non-linear editing.

Because of Drum ‘n’ Bass historical connection with marihuana (favored in early D’n’B club culture as a reaction to Rave’s ecstasy excesses), an unexpected problem arose with these complex subgenres. The behavior of stationary nodding to the beat (or even sitting down) while smoking marihuana became commonplace and alarmed a number of producers. They wanted the crowd to party, which lead to a genre specifically aimed at doing so: Jump-Up. Definitely more heavy and bass-focused than early Drum ‘n’ Bass but still less dark than Hardstep and Techstep, Jump Up seeks to combine the most popular elements of Jungle, for which it sometimes also gets despised: simple, catchy melodies, Ragga basslines, and speedy drum loops.

Because the music was particularly aimed at dancing, it eventually brought along a new dance style, borrowed from Punk subculture: skank. Lately, Jump Up has been revived with a drier, more minimal second wave (sometimes referred to as Skank ‘n’ Bass). Nu Jump Up, another recent subgenre, is the synonym for Clownstep and thus the fusion of Jump Up and Dubstep.
", "songlist": [ "DJ Aphrodite - King Of The Beats (2015)", "Urban takeover - Bad ass (urban mix)", "Super Sharp Shooter - The Ganja Kru", "Mulder - Stick Up Kid", "Andy C - New Era", "Mampi Swift - Guess Who (HQ)", "DJ Hazard - It's A Secret", "Majistrate - Feel So Good. feat Jessica Luck [Sweet Tooth Recordings]", "Sub Zero - Straight In", "Chase & Status feat. Takura ＂No Problem＂" ], "playlistID": "PLb15rbk6I4pP9wqvgbmI_60ED0ezaCtT0", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP9wqvgbmI_60ED0ezaCtT0", "spotify-playlist-link": "https://open.spotify.com/playlist/6X8yi4vV1qnspDLpXi7abb?si=GSCk0Fw7RBCY1I_mYZKWmA", "name_zh": "跳跃" }, "dnb05": { "name": "INTELLIGENT / AMBIENT DRUM ‘N’ BASS & JAZZSTEP
知性/氛围鼓打贝斯 & 爵士步", "year": "1997", "supergenre-first-tag": "DRUM 'N' BASS", "supergenre-second-tag": [ "slave", "(downtempo)" ], "description": "
Hardstep、Darkcore和Jump Up都专注于Drum 'n' Bass的rave面，并试图用次声波轰鸣的贝斯线和鼓滚奏的雪崩吹走人群。很快，一场反运动出现了，试图重塑原始Drum 'n' Bass的声音——在Ragga或Darkcore影响之前。正如所预料的，它既不原始也不沉重，而是高度打磨、制作精良且悦耳的。通过跨界到其他精致、智识的音乐如IDM和爵士（Jazz），这种智能Drum 'n' Bass将自己非常当回事（有人说过分了）。\n\n主要唱片公司产生兴趣并开始为精英音频鉴赏家发行唱片（带有复杂、深沉、有氛围的旋律），并给自己贴上Artcore的标签，但存在许多同义词：氛围、有气氛或智能Drum 'n' Bass，以及爵士Drum 'n' Bass或Jazzstep作为更爵士导向的类型（尽管这两者共享太多重叠，我们将它们视为兄弟流派）。其艺术性、复杂的本质使该流派比其它Drum 'n' Bass更与大麻关联——它通常是非俱乐部电影场景中甘加（ganja）存在的首选配乐。代表艺人包括LTJ Bukem（Good Looking Records）、Photek、Peshay、Goldie（部分）以及Fabio。
Hardstep, Darkcore and Jump Up all focused on the “ravy” side of Drum ‘n’ Bass, and tried to blow the crowd away with subsonic booming basslines and an avalanche of drum rolls. Very soon, a countermovement emerged that tried to recreate the original Drum ‘n’ Bass sound, before Ragga or Darkcore influences. As to be expected, it was neither raw or heavy, but highly polished, produced and soothing to the ear. With crossovers into other “sophisticated, intellectual” music such as IDM and Jazz, this “intelligent” Drum ‘n Bass took itself very seriously (some say too). Major record labels took an interest and started releasing records for the elite audio connaisseurs (with complex, deep, atmospheric melodies) and labeling itself “Artcore”, but many synonyms exist: Ambient, Atmospheric or Intelligent Drum ‘n’ Bass and Jazzy Drum ‘n’ Bass or Jazzstep as the more Jazz oriented type (though these two share so much overlapping that we regard them as sibling genres). Its “artistic”, complex nature makes the genre even more associated with cannabis than other Drum ‘n’ Bass – it’s often the preferred soundtrack for any non-clubbing film scene dominated by ganja presence.

Jazzstep and Ambient Drum ‘n’ Bass (which is by most preferred over the term Intelligent Drum ‘n’ Bass) made Drum ‘n’ Bass very popular, even in circles that normally don’t hold Jungle in high esteem. Drum ‘n’ Bass responded to this “intrusion” by going even deeper underground, shaping Hardstep into Techstep.
", "songlist": [ "Speechless (Drum & Bass)", "Origin Unknown - Valley Of The Shadows ᴴᴰ", "Roni Size - It's A Jazz Thing", "LTJ Bukem - Inner Guidance", "Omni Trio - Secret Life", "45 Roller Saturday Night Roller", "DJ Trace-Miles High-(Drum&Bass)" ], "playlistID": "PLb15rbk6I4pP1wnbxUFHaa5e9fD0IgC68", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP1wnbxUFHaa5e9fD0IgC68", "spotify-playlist-link": "https://open.spotify.com/playlist/4kQGXzXxyoM5fAVijlNSsW?si=n6KuPJr9TqusAUP14jfdnA", "name_zh": "知性/氛围鼓打贝斯 & 爵士步" }, "dnb06": { "name": "NEUROFUNK
神经放克", "year": "1999", "supergenre-first-tag": "DRUM 'N' BASS", "description": "
Neurofunk这个名字暗示了一种柔和、有氛围的流派，但它仍然非常有活力。Techstep流行的摧毁一切态度在丛林世界形成了一种强大的主流声音。这一溪流演变成某种新东西；更临床和更少旋律化，带有氛围嗡鸣声和噪音哔声，但仍然具有攻击性和Rave风格。Neuro——如其所称——听起来像大脑的自然配乐：神经化学物质流动和奔涌，创造出既深奥又微妙的情感。\n\n顾名思义，Neurofunk从放克（Funk，和爵士Jazz）借用了一些影响来实现这一点，但以一种几乎不可察觉的方式。Techstep和Neurofunk之间的区别可以很有挑战性。重要的是，Neurofunk融入了酸性声音（甚至可能被称为Acidstep），并且以少量或适度的积聚和分解为特色。Neurofunk是一股连续的冲刷和波浪，发出强烈的氛围，激发想象力。Neurofunk又名Futurestep，喜欢以其超干净的制作用科幻或动漫幻想世界吸引你，却仍然保持Drum 'n' Bass所能达到的硬核和黑暗。一个更幽灵般、更粗粝的版本称为Darkstep也存在。代表艺人包括Noisia、Black Sun Empire、Ed Rush & Optical（后期）、Phace以及Spor。
The name Neurofunk suggests a soft, ambient genre, but it’s still very much alive and kicking. Techstep’s popular “destroy-‘em-all”-attitude formed a powerful mainstream sound in the world of Jungle. This stream evolved into something new; something more clinical and less melodic with ambient drone sounds and blips of noise, but still aggressive and Ravelike. “Neuro” – as it is called – sounds like the natural soundtrack of the brain: neurological chemicals flowing and rushing, creating both deeply obscure and delicate emotions. As the name suggests, Neurofunk borrowed some influence from Funk (and Jazz) to make this happen, but in a barely noticeable manner. The difference between Techstep and Neurofunk can be challenging. Important is that Neurofunk incorporates acid sounds (it might even be called “Acidstep”) and features few or moderate builds and breakdowns. Neurofunk is a continuous stream of washes and waves emitting a strong atmosphere that sparks the imagination. Neurofunk aka Futurestep likes to reel you in a science-fiction or anime fantasy world with its hyper-clean production, yet remains as hard and dark as Drum ‘n’ Bass can be. A spookier, grittier version called Darkneuro, also exists and even more subgenres though that would be really splitting hairs.
", "songlist": [ "Noisia - Stigma", "Konflict - Messiah", "Black Sun Empire - Breach", "Ram Trilogy - Titan", "Ice Minus & Decoder - Drowning", "Usual Suspects - Killa Bees", "Apache - Matrix", "The Qemists - Lost Weekend HD Remix ( I Got Your Money )", "Signs - Plasma", "Trei - Backburner" ], "playlistID": "PLb15rbk6I4pOH9HRj7KOQRnlr4wFEkV0D", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOH9HRj7KOQRnlr4wFEkV0D", "spotify-playlist-link": "https://open.spotify.com/playlist/3VedPbVb57xx4ttZjD7TUs?si=9czDIHtDT6KZMaQnCuP9Pw", "name_zh": "神经放克" }, "dnb07": { "name": "LIQUID FUNK
流质放克", "year": "2000", "supergenre-first-tag": "DRUM 'N' BASS", "description": "
谁会想到DJ Fabio的小实验——将一批Jazzstep艺术家以不同的、更友好和更快的速度声音组合在一起——会变成Drum 'n' Bass获得巨大主流观众？合辑的名字——Liquid Funk——是命名最糟流派的有力竞争者。没有人知道为什么它叫Liquid，其Funk影响也相当小。Liquid（Funk）拥有广泛的R&B和爵士曲调，最近迪斯科/浩室（Disco/House）已成为主导影响。\n\n甚至比Jazzstep更甚，制作是极度打磨的，产生了一种精致、多彩、冲刷、有氛围的声音，如同缎面彩虹闪光的波浪。而任何其他Drum 'n' Bass流派都是夜晚的音乐，Liquid Funk是白天的音乐；在音乐节或家里播放。多年来，Liquid Funk从一种略有不同的Jazzstep（带有一些Funk元素）演变为更快、更丰富或更多层次的声音，最后成为一种高度声乐化和繁荣的声音（在D'n'B世界中非常不寻常）。这最后一种风格在2010年后获得了相当大的势头，由于越来越流行的朗朗上口diva人声和与其他艺术家的合作，连接了D'n'B和流行世界之间（曾经不可逾越的）鸿沟。代表艺人包括High Contrast、Netsky、Camo & Krooked、Wilkinson以及Maduk。
Who would have thought that DJ Fabio’s small experiment of compiling a bunch of Jazzstep artists with a different, friendlier and more uptempo sound, could turn out into Drum ‘n’ Bass gaining massive mainstream audience? The name of the compilation – Liquid Funk – is a serious contester for worst named genre. No-one knows why it’s called Liquid and its Funk influences are rather minimal. Liquid (Funk) has a wide variety of R&B and Jazz tunes and lately Disco/House has become the dominant influence. Even more than Jazzstep, production is extremely polished, resulting in a delicate, colorful, washing, ambient sound like waves made of satin rainbow glitters. Whereas any other Drum ‘n’ Bass genre is music for the night, Liquid Funk is music for the day; to be played at festivals or simply at home.

Over the years, Liquid Funk evolves from a slightly different kind of Jazzstep with some Funk elements to a faster and richer or layered sound, and finally to a heavily vocalized and exuberant one (very uncommon in the world of D’n’B). This last style has gained quite a momentum after 2010, due to ever popular catchy diva vocals and collaboration with other artists, bridging the (once unbridgeable) gap between Drum ‘n’ Bass and Pop music. A vibrant Liquid club scene is alive throughout the world, where people prefer the optimistic or sentimental sound over nihilistic, dark, industrial Rave beats.
", "songlist": [ "Racing Green By High Contrast (Official Video)", "London Elektricity - The Great Drum & Bass Swindle [HD]", "Utah Jazz - Take No More", "Logistics - Icarus (feat. Hugh Hardie)", "Marcus Intalex - Temperance [Soul：R]", "Even If (Original Mix)", "Q Project - Tears (Original)", "Drumsound and Bassline Smith - Through The Night (Ft. Tom Cane) (Official Video)", "Rudimental - Waiting All Night (ft. Ella Eyre) [Official Video]", "Netsky - Rio feat. Digital Farm Animals (Official Video)", "J Majik & Wickaman - Crazy World feat. Kathy Brown", "Sigma & Rita Ora - Coming Home (Official Music Video) HD" ], "playlistID": "PLb15rbk6I4pMWuDGIY_AyG76bkxdpnRQr", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMWuDGIY_AyG76bkxdpnRQr", "spotify-playlist-link": "https://open.spotify.com/playlist/06hp3b20tvTnKmfd6U3kQ6?si=p1gR-8iLT9GG2CYCFMOLSQ", "name_zh": "流质放克" }, "dnb08": { "name": "DUBSTEP
回响贝斯", "year": "2003", "supergenre-first-tag": "DRUM 'N' BASS", "description": "
Dubstep可以被描述为自2000年以来唯一真正创新的舞曲流派（与Grime一起），有时甚至被标记为一个独立的超级流派。毕竟，它很难分类；落在碎拍（Breakbeat）、鼓打贝斯（Drum 'n' Bass）、缓拍（Downtempo）和牙买加音乐（Dub）之间的某处。这里选择了Drum 'n' Bass，因为Dubstep最接近其亚文化，在乐器配置和声音处理上最相似，但有巨大差异。\n\n就像Dub一样，Dubstep最初是器乐B面，只是Grime的而非雷鬼（Reggae）的。然而，当UK Garage围绕bling bling、香槟和主流成功变得对普通UKG粉丝来说太过难以忍受时，流行度超出预期地上升了。地下电台Rinse FM和英国专门的Dubstep俱乐部之夜利用了这种不满，并负责将该流派塑造成一个机构。早期或真正的Dubstep可以通过一种怪诞、有氛围的音景来识别，受到Dub的强烈影响——这在多年后的后续子流派中丧失了。要充分欣赏Dubstep，一个像样的低音炮或（俱乐部）音响系统至关重要，因为频率倾向于甚至比Drum 'n' Bass更低。代表艺人包括Skream、Benga、Digital Mystikz（Mala & Coki）、Loefah以及Kode9。
Dubstep can be described as the only true innovative Dance genre since 2000 (alongside Grime), and is sometimes even labeled as a super-genre on its own. After all, it’s hard to categorize; falling somewhere in between Breakbeat, Drum ‘n’ Bass, Downtempo and Jamaican music (Dub). Drum ‘n’ Bass is chosen here, as Dubstep is most closely related to its subculture and most similar in instrumentation and sound manipulation, but there are large differences.

Just like Dub, Dubstep started out as instrumental B-sides, only Grime ones instead of Reggae. Popularity rose beyond expectations however, when UK Garage’s involvement around bling bling, champagne, and mainstream success became too much to bear for the average UKG fan. Underground radio Rinse FM and specialized Dubstep club nights in the UK tapped into that discontent and were responsible for shaping the genre into an institution.

Early or True Dubstep is recognizable by an eerie, ambient soundscape, heavily influenced by Dub, which it lost over the years in subsequent subgenres. To fully appreciate Dubstep, a decent subwoofer or (club) sound system is vital, as frequencies tend to drop even below Drum ‘n’ Bass. These LFO-subsonic basslines are often re-oscillated, creating the stereotypical Dubstep “wobbly bass”, which got transferred to other music genres afterwards. Dubstep has a steady repetitive drum rhythm (kick-snare-kick-snare) stretched far apart, and thus leaving lots of listening room, while also making Dubstep appear slower than its actual tempo (140bpm). Overall sound production can either be hyperclean (like Neurofunk) or gritty/industrial (like Techstep). Dubstep is about surprising and touching the inner mind with sound experiments, no matter the manipulation, just like Dub did before. Therefore lots of effort is being put in percussion arrangements and distortion of mid-range sounds. The long and eager anticipation of young electronic composers for their own revolutionary genre– the sound of the nillies generation - naturally led to an abundance of crossovers, subgenres and a more commercial approach: enter Post-Dubstep.
", "songlist": [ "Skream - Exothermic Reaction (HD Full)", "Burial： Southern Comfort [HQ]", "Kode9 - Black Sun", "Benga - Crunked Up", "Digital Mystikz - Earth A Run Red", "Mala - Changes", "Loefah - The Goat Stare", "Caspa & Rusko - Blouse an Skirt (Official Video)", "Vex'd - Corridor", "MRK1 - Grit", "Distance - V" ], "playlistID": "PLb15rbk6I4pNPPtV-hIpf2-s_lIYW04Pr", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNPPtV-hIpf2-s_lIYW04Pr", "spotify-playlist-link": "https://open.spotify.com/playlist/1NMYU2Et0pzJwQKwyaDarE?si=jNXOvmvpQtyuQ4DPq_hpqg", "name_zh": "回响贝斯" }, "dnb09": { "name": "POST-DUBSTEP
后回响贝斯", "year": "2007", "supergenre-first-tag": "DRUM 'N' BASS", "description": "
在早期Dubstep中，节拍drop被拉伸的鼓模式所强调。随着时间的推移，这些drop变得越来越重要，长长的积聚奔涌而上。艺术家甚至举行比赛，看谁能创造最大的drop。氛围音景也被提供朗朗上口旋律主题的hook所取代。当最终中频riff式合成器线在著名的子流派Brostep中被引入时，Dubstep被美国大众所接受，并成为几乎任何歌曲都可以被混音的通用模板。\n\n这引发了早期Dubstep制作人/粉丝与新（后Dubstep Post-Dubstep）阶级之间的一波巨大反感，特别是对Skrillex。Dubstep冲破其英国地下环境，像病毒一样传播到其他渴望跨界的当代流派：电子浩室（Electro House）/ Ghettotech / Trap / 新R&B（Nu R&B）/ Grime。一整套子流派出现在舞台上，但最重要的是与Drum 'n' Bass的融合。因此，Dubstep重振了超级流派，并以Drumstep的形式联合了两个亚文化。除了交替Jump-Up的滚动和Dubstep的切碎碎拍之外，Drumstep以半速节奏创作，使其在更高的bpm下工作，对D'n'B和Dubstep DJ alike都具有吸引力。代表艺人包括Skrillex、Flux Pavilion、Zeds Dead、Excision以及Bassnectar。
In early Dubstep, beat drops were accentuated by the stretched drum pattern. Over the course of time, these drops became more and more important, with long build-ups running up to them. Artists even held races to see who could create “the biggest drop”. Ambient soundscapes also got replaced by hooks providing catchy melodic themes. When finally mid-frequency rifflike synth lines get introduced in the famous subgenre Brostep, Dubstep becomes accepted by the masses in the US and a versatile template on which just about any song can get remixed. This sparked a huge wave of revulsion between the early Dubstep producers/fans and the new (Post-Dubstep) garde, particularly Skrillex. Dubstep breaks loose out of its UK underground environment and spreads like a virus to other contemporary genres also eager to cross over: Electro House / Ghettotech / Trap / Nu R&B / Grime. A whole array of subgenres appears on the stage, but most importantly is the merging with Drum ‘n’ Bass. Hereby, Dubstep reinvigorated the super-genre and united both subcultures in the form of Drumstep. Apart from alternating between Jump-Up’s rolling and Dubstep’s chopped breakbeats, Drumstep is composed in half-time rhythm.

In 2010, Post-Dubstep as a name arises, which is a collection of many subgenres. Besides Brostep and Drumstep, Post- Dubstep includes the crossovers Funkstep and Electrostep, and the harder subgenres Deep Dubstep (return to Dubstep roots like the implementation of LFO wobbly bass) and Filthstep (Dubstep with “filthy” synth lines).
", "songlist": [ "SKRILLEX - Bangarang feat. Sirah [Official Music Video]", "DatsiK - Firepower (Full 1080p)", "Datsik - Firepower", "EXCISION - Brutal [OFFICIAL]", "Noisestorm - Breakdown (Dubstep)", "[Drumstep] - Feint - Formless [Monstercat Release]", "Detzky - Shadow Dance [FREE COMP. #001 OUT NOW]", "Au5 & Fractal - Smoke", "Vonikk - Superstar (Original Mix) [Electrostep Network Freebie]", "Gramatik ｜ So Much For Love ｜ Official Music Video" ], "playlistID": "PLb15rbk6I4pMqlcM-GkwoCbb3bnz2gnwP", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMqlcM-GkwoCbb3bnz2gnwP", "spotify-playlist-link": "https://open.spotify.com/playlist/6uJ7LhS2an2Tn4tQnJsEkc?si=mKpG1gXjT5iGvFycYUnlkQ", "name_zh": "后回响贝斯" }, "dnb10": { "name": "FUTURE GARAGE & FUTURE BASS
未来车库 & 未来贝斯", "year": "2009", "supergenre-first-tag": "DRUM 'N' BASS", "supergenre-second-tag": [ "master", "BREAKBEAT" ], "description": "
如果你想象UK Garage的未来会听起来像什么，你可能不会偏离Future Garage太远：超越流派、超折衷、难以定义。Future Garage受到许多当代流派的影响，尤其是寒潮（Chillwave）和后Dubstep（Post-Dubstep），它们本身高度多样化。为了调和Chillwave相当梦幻、流行般的特征与Post-Dubstep沉重、快节奏的声音，创造了一个中间地带，更像音乐宇宙的中心：一切皆可。\n\n然而，为了不偏离一种或另一种影响太远，这个中间地带比预期的更明确和受限。特别是在与Trapstep合并之后——Trapstep在节奏和速度上无缝融合。因此，Future Garage在2014年左右转变为Future Bass。由于相当大的重叠，不建议分离这些流派。Future Bass——迄今为止最新的大型音乐流派——结合了失谐、包络的合成器与环境、自然的声音和明显的反拍。合成器化的、忧郁但快乐的人声（几乎总是女性）增添了快速上升的流行度。Future Bass具有非常可辨识的情绪：音乐将你沉入一个超现实的梦幻氛围中。代表艺人包括Flume、Rustie、Wave Racer、Marshmello（早期）以及San Holo。
If you would imagine what the future of UK Garage would sound like, you probably wouldn’t deviate too much from “Future Garage”: genre-defying, hypereclectic, hard-to-define. Future Garage is influenced by many contemporary genres, not the least Chillwave and Post-Dubstep, who are highly diverse themselves. To reconcile the rather dreamy, poplike character of Chillwave with the heavy, uptempo sound of Post-Dubstep, a middle ground was created that is more like the center of the musical universe: anything goes. However, in order not to stray afar from one influence or another, this middle ground is more defined and constrained than expected. Especially after the coalescence with Trapstep, a genre that rhythm- and tempo-wise seamlessly blends in. And thus Future Garage turns around 2014 into Future Bass. Due to considerable overlapping, it is not recommended separating these genres. Future Bass – the newest big music genre so far – combines detuned, enveloped synths with ambient, natural sounds and pronounced offbeats. Synthed out and melancholic but joyful vocals (almost always female) add to a fast rising popularity. Future Bass has a very recognizable mood: the music submerges you into a surreal aquarium with “glittering” sounds (similar to the latest developments in Liquid Funk), where you can hear both the distant drums from the jungle shore and the muted wailings of sirens on the rocks. Already, copious subgenres have emerged, who work on different types of mood, such as Dreambass, Ambient Bass, and Nightbass.
", "songlist": [ "ODESZA - Say My Name (feat. Zyra) - Lyric Video", "Flume - Never Be Like You feat. Kai", "Manila Killa - All That's Left feat. Joni Fatora (Cover Art)", "Mazde - Battas (feat. LissA)", "Cashmere Cat - Rice Rain", "Wave Racer - Streamers", "LIDO - MONEY (OFFICIAL VIDEO)", "XXYYXX - Echo Volture", "[Future Bass] - Kasbo - Kaleidoscope [Monstercat Release]" ], "playlistID": "PLb15rbk6I4pNPEenXtCt4CcKzzBwn4Zj4", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNPEenXtCt4CcKzzBwn4Zj4", "spotify-playlist-link": "https://open.spotify.com/playlist/5cuqfImY0bC06ueg3N7v5i?si=idTk2qB6RjiFLdfSnDV_pA", "name_zh": "未来车库 & 未来贝斯" }, "hct01": { "name": "NEW BEAT
新节拍", "year": "1987", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "TECHNO" ], "description": "
从前，在一个奇怪国家的俱乐部里，他们决定拿一些崭新和激动人心的酸性浩室（Acid House）唱片，以较低的33转而非它们预期的45转来播放。俱乐部是著名的Boccaccio，国家是比利时：阴郁和先锋的EBM（电子身体音乐）的故乡。EBM的氛围和声音完美匹配了这种新酸性浩室节拍的较低速度，形成了工业音乐（Industrial）与舞曲之间的门户，最终导致了一整组新流派：硬核（Hardcore）。\n\n然而，这个流派并不黑暗或压抑。声音是沉重和迟缓的，像一个碾压的巨人，但歌词是乐趣和无意义的混合。凭借其相当慢的110bpm，New Beat为浩室/高科技舞曲（House/Techno）形成了一个舒适的序幕，因为欧洲公众尚未准备好接受美国的130bpm浩室或高科技舞曲。最终New Beat变得太荒谬（机会主义乐队利用神秘和性的模板赚钱），迫使原始作曲家逃离场景。但基础已经为一个全新的超级流派奠定——它生来不是为了取悦多数人：硬核（Hardcore）。代表艺人包括Lords of Acid、A Split-Second、The Neon Judgement、Confetti's以及T99。
Once upon a time, there was a club in a strange country where they decided to take some brand new and exciting Acid House records, and play them at the lower 33rpm instead of their intentional 45rpm. The club was the famous Boccaccio and the country was Belgium: home to the gloomy and avant-garde EBM. The atmosphere and sounds of EBM matched perfectly the lower tempo of this “New Acid House Beat”, forming a gateway between Industrial and Dance and leading eventually to a whole new group of genres: Hardcore. The genre was not dark or depressing though. The sounds were heavy and sluggish, like a crushing giant, but the lyrics were a mix of fun and nonsense. With its rather slow 110bpm, New Beat formed a comfortable prologue for House/Techno, as the European public wasn’t ready yet for American 130bpm House or Techno. Eventually New Beat became too ridiculous (with opportunistic bands cashing in on a template of mystery and sex), which forced the original composers to flee the scene. But the foundations were already laid for a whole new super-genre that was not born to please the majority: Hardcore.
", "songlist": [ "A split second - Flesh (33 rpm +8 Pitch)", "Lords of Acid - I Sit on Acid (Lust album)", "Ibiza - Amnesia", "DIRTY HARRY - D' BOP", "The Sound Of C (Original 88 Version)", "Boytronic - Bryllyant", "Fatal Error - Fatal Error", "101 - Rock To The Beat (Original Club Mix 1988)", "Traxx - Malfunction", "CODE 61 Drop The Deal 1988", "IN D VIRGIN IN D SKY'S" ], "playlistID": "PLb15rbk6I4pOI56VHS957pGckkPFvMZsO", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOI56VHS957pGckkPFvMZsO", "spotify-playlist-link": "https://open.spotify.com/playlist/2RdxLOqzGaWy7yqZoJfyB4?si=6N1YhHlJTFGWNM5rtKBx3g", "name_zh": "新节拍" }, "hct02": { "name": "HARDCORE TECHNO / RAVE
硬核科技舞曲 / 锐舞", "year": "1990", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "TECHNO" ], "description": "
朋克（Punk）之于摇滚，Rave之于舞曲。彻底改变一切的、不可否认的冲击革命，搅动了否则可能变得陈旧的事物。在德国和比利时，年轻、好战的DJ发现了臭名昭著的hoover声音：外星真空吸尘器被打开的加速、失真声音。起初，这种黑暗和残酷的欧洲地下高科技舞曲（Techno）纯粹是器乐的，几乎没有旋律（如Joey Beltram开创性的经典Energy Flash），但逐渐速度增加，hoover声音被用来建立类似颂歌的、夸张的旋律。\n\n这导致了一种前所未闻的舞曲音乐：黑暗、硬核、狂喜、压倒性的。Rave成为一种派对现象，特别是在英国和荷兰：大规模的非法秘密临时派对（称为Raves），伴随着过度药物滥用，很快成为全国警察追捕的目标。这甚至反映在音乐中：警铃、警报器和其他引发偏执的效果都增添了Rave的戏剧性过度刺激。Rave最重要的方面无疑是摇头丸（XTC）。在New Beat和Acid House期间已经是一个小冲击的事物，在完美的XTC配乐最终被发现时完全爆发了。代表艺人包括Joey Beltram、The Prodigy（早期）、Altern-8、L.A. Style以及Human Resource。
What Punk was to Rock, Rave was to Dance. The all-changing, undeniable shock-revolution, shaking things up that otherwise might have gone stale. In Germany and Belgium, young, militant DJ’s discovered the infamous “hoover” sound: an accelerated, distorted sound of an alien vacuum cleaner being turned on. In the beginning this dark and brutal European underground Techno was purely instrumental and barely melodic (such as the pioneering classic “Energy Flash” by Joey Beltram), but gradually the tempo increased and the hoover sounds were used to establish an anthem like, bombastic melody. This led to a sort of dance music unheard of: dark, hard, ecstatic, overwhelming. Rave became a party phenomenon, especially in the UK and the Netherlands: massive illegal and secret pop-up parties (called “Raves”) with excessive drug abuse were soon the target of a nationwide police hunt. This was even reflected in the music: alarm bells, sirens and other paranoia-inducing effects all added to the theatrical overstimulation that is Rave.

The most important aspect of Rave is undoubtedly XTC. What was already a small shock during New Beat and Acid House, completely erupted when the perfect XTC soundtrack was finally conceived. Stuff to intensify the XTC-rush such as gadgets, Vicks inhalers, glowsticks, and lasers were born in the era of Rave and were eventually transferred to contemporary dance culture.

Just like Punks or Goths, a new subcultural stereotype emerged: the “Raver”. With loose, flashy clothing of the early nineties slightly influenced by Rap fashion, Ravers lived in the center of a yolo-universe, where everyday could be their last (which it was for some). Rave was a way of life, reflected by the notorious creed: “Eat Sleep Rave Repeat”.
", "songlist": [ "Dominator (Beltram Mix)", "The Hypnotist - Hardcore You Know The Score (1991)", "Channel X - Rave The Rhythm", "T99 - Anasthasia 1991", "L.A. STYLE - James Brown Is Dead", "U96 - Das Boot (HQ) MTV [1992]", "Quadrophonia - Quadrophonia (1990⧸1991)", "D-Shake - Techno Trance (Paradise is Now) (1990)", "-APOTHEOSIS - O Fortuna - 1992-.wmv", "Ace The Space - 9 Is A Classic (1992)", "LITTLE LITTLE - JUST THE WAY LIKE THIS (1990)", "Fierce Ruling Diva - Rubb it in" ], "playlistID": "PLb15rbk6I4pP3q0cYsCC2j7-huWquiOBL", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP3q0cYsCC2j7-huWquiOBL", "spotify-playlist-link": "https://open.spotify.com/playlist/1eCjGltGkaFWIOLiZ7t42Z?si=-mVWSNUGSGCgl-C240rxTQ", "name_zh": "硬核科技舞曲 / 锐舞" }, "hct03": { "name": "BREAKBEAT HARDCORE & PIANO HOUSE (RAVE II)
碎拍硬核 & 钢琴浩室", "year": "1991", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "BREAKBEAT" ], "description": "
碎拍硬核（Breakbeat Hardcore）是一个重要的EDM流派，具有相当复杂的演变。早期Hip House说唱歌手开始制作加速的、愚蠢的流行浩室音乐，在酸性浩室Rave文化中变得相当流行。这种音乐然后与早期硬核高科技舞曲（Hardcore Techno）融合成真正的Breakbeat Hardcore，又名老派硬核（Old Skool Hardcore）。\n\nBreakbeat Hardcore具有音高变化的碎拍、半速贝斯线，并以非常业余、原始、DIY的声音、简单的艺术和一整套非法采样而闻名。任何人都可以相当容易地制作这种音乐，一个巨大的地下海盗运动自己接管，大量生产所谓的'Ardkore唱片。正如自由高科技舞曲（Free Techno），自由硬核（Free Hardcore）诞生了。紧随其后，Breakbeat Hardcore受到Ragga（导致原初Drum 'n' Bass，当时称为Hardcore Jungle Techno）和欧陆舞曲（Eurodance，导致流行Rave Pop-Rave）的影响，但主要受到意大利迪斯科（Italo Disco，导致4-beat和钢琴浩室 Piano House，又名意大利浩室 Italo House）的影响。因此，Breakbeat Hardcore成为巨大音乐收藏的基础。代表艺人包括The Prodigy（早期）、SL2、Acen、Nookie以及Shut Up and Dance。
Breakbeat Hardcore is an important EDM genre with a fairly complex evolution. Early Hip House rappers started to make accelerated, silly Pop House music that became quite popular within Acid House Rave culture. This music then merges with early Hardcore Techno into true Breakbeat Hardcore, aka Old Skool Hardcore.

Breakbeat Hardcore has pitched breakbeats, half-speed basslines, and is known by a very amateur, raw, DIY sound with simplistic artwork and an arsenal of illegal samples. Anyone could quite easily make this music, and a huge underground pirate movement took matters into their own hands, churning out the so called ‘Ardkore record after record. Just like Free Techno, Free Hardcore was born. Immediately afterwards, Breakbeat Hardcore becomes influenced by Ragga (resulting in Proto Drum ‘n’ Bass known at the time as “Hardcore Jungle Techno”) and by Eurodance (resulting in Pop-Rave), but mainly by Italo Disco (resulting in 4-beat and Piano House aka Italo House). As such Breakbeat Hardcore became the basis for an immense collection of music.

Fueled by massive XTC-consumption, all these genres became one big subculture of overlapping styles, resulting in a much more expansive, second wave of Rave. This wave differs from the first one due to a happier and more uptempo sound. All the dark and heavy Techno influences were thrown overboard and speedy piano melodies onto looping breakbeats were introduced instead. Subbasslines and raplike intermezzo verses or sampled catchphrase lyrics remained, but were overshadowed by the fast tempo or diva vocals. The lyrics often dealt either about extreme happiness or nightlife and dancing. For its fans, all these elements intertwine into pure ecstatic, celestial music as if one had found the gates to Heaven.
", "songlist": [ "M.A.N.I.C. I'm Comin' Hardcore", "SL2 - On A Ragga Tip", "Altern 8 Activ-8 (Come with me)", "Acen - Trip II the Moon (Part 1)", "Phuture Assassins Future Sound", "Shut Up And Dance - Raving I'm Raving", "RatPack - Searching For My Rizla", "Rhythm Foundation - Let The Whole World Know", "New Atlantic - I Know [1992]", "Hyper Go Go - Never Let Go (piano mix)", "Pierre Feroldi feat Linda Ray - Movin Now" ], "playlistID": "PLb15rbk6I4pOfJM90Ol9wQovltOm-bRkQ", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOfJM90Ol9wQovltOm-bRkQ", "spotify-playlist-link": "https://open.spotify.com/playlist/3a3hDS8FTmjJA6VfXPbs28?si=L_pgLpDTTjGIUotACkhgrA", "name_zh": "碎拍硬核 & 钢琴浩室" }, "hct04": { "name": "(EARLY) GABBER
早期鹿特丹硬核", "year": "1993", "supergenre-first-tag": "HARDCORE", "description": "
随着时间推移，有许多音乐流派在周末提供工作后压力释放，遵循共同的原则努力工作，更努力玩耍。当你是寒冷工业港口城市鹿特丹的码头工人时，这一原则只能导致可以想象的最硬的音乐。因此，在荷兰，硬核（Hardcore）与工业音乐（Industrial，以New Beat的形式）的原始联系被深度失真大量工业重型底鼓所刷新。\n\n早期鹿特丹Gabber和更知名的由著名Thunderdome合辑专辑所永恒化的代表作品，相对较慢（150 bpm），但很快这些底鼓节拍被加速到音乐世界中最快的速度：超过180 bpm。起初Gabber简单地被称为Kickhouse或Powerhouse（由于其强劲的节拍），但很快以第一批Gabber俱乐部之一重新命名：De Van Gabberhal。Gabber是一个荷兰词，意为伙伴，这个词留下来了，作为对这类派对上和解氛围的贴切指代。这毫不奇怪，因为有无尽的共情性XTC可用。消费甚至增加，并加入了甲基苯丙胺药片。宽松的运动服、训练夹克、短发或光头——Gabber亚文化看起来与音乐一样具有侵略性。代表艺人包括Angerfist、Neophyte、Mokum Records团队、DJ Paul Elstak以及The Prophet。
Over the course of time, there have been many music genres to provide after work stress relief in the weekends, by the common principle “work hard play harder”. When you are a dock worker in the cold and industrial harbor city of Rotterdam, that principle can only lead to the hardest music imaginable. Thus in the Netherlands the original link of Hardcore with Industrial (in the form of New Beat) was refreshed by deeply distorting a multitude of industrial-heavy kick drums. Early Rotterdam Gabber and the more well-known exponents immortalized by the famous Thunderdome compilation albums, were relatively slow (150 bpm), but soon these kick beats were accelerated to the fastest tempo in the world of music: above 180 bpm. At first Gabber was simply called Kickhouse or Powerhouse (due to its strong beats) but soon got renamed after one the first Gabber clubs: “De Van Gabberhal”. Gabber is a Dutch word meaning “buddy” and the word stuck, as a fitting reference to the conciliating vibe at such parties. This must come as no surprise, with endless availability of empathic XTC. Consumption even increased and was joined by methamphetamine pills. Loose sportswear, training jackets, short or bald haircuts, and a specific type of ultrafast, feet-pounding dance called “hakken”, showcased the consequences of such high consumption of stimulants. But the essence of Gabber could be seen as the substitute for all these aggressive appearances and heavy drug use. In its core it is the most loyal genre to the general Hardcore credo: going completely berserk and providing the ultimate relief from any kind of stress.
", "songlist": [ "Army of Hardcore", "Euromasters - Alles naar de klote", "Rotterdam Termination Source - Poing", "I Like It Loud (Orginal Version 1997)", "Rotterdam Terror Corps - Live At The Megarave", "Holy Noise - Hardcore Will Never Die", "DJ Promo - King Of Pain", "DJ Bountyhunter - Whoops!", "Bonzai Records - Thunderball - Bonzai Channel One" ], "playlistID": "PLb15rbk6I4pMdu88tbL94SDTBoGhbCHDf", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMdu88tbL94SDTBoGhbCHDf", "spotify-playlist-link": "https://open.spotify.com/playlist/3INWOvAjYFI9zl0QjzRKFy?si=MogA5amZT82kdklQsj2kFw", "name_zh": "早期鹿特丹硬核" }, "hct05": { "name": "HAPPY HARDCORE & BOUNCY TECHNO
快乐硬核 & 弹跳科技", "year": "1994", "supergenre-first-tag": "HARDCORE", "description": "
在九十年代初的舞曲热门排行榜中，欧陆舞曲（Eurodance）及衍生形式占据主导地位。最终，甚至硬核（Hardcore）也受到影响，或者——反过来——欧陆舞曲歌曲被转化为硬核版本：朗朗上口的合成器旋律被极度加速到约180 bpm（使它们听起来相当俗气），老派钢琴声音（或响亮的铃声）被添加，加速的男性（说唱）歌词和女性副歌人声填补了其余部分。\n\n快乐硬核（Happy Hardcore）是Gabber的真正的恶搞，一种被推向极端的讽刺，带着儿童商品、多彩的青少年合辑CD，甚至儿童派对——Happy Hardcore始终被播放。毫无疑问，Happy Hardcore被许多严肃的Gabber硬核社区所鄙视，对他们来说，这一流派不仅是商业出卖，而且是对他们文化的威胁。他们是对的，因为以这种或那种方式，Happy Hardcore已经标志着Gabber文化的终结，尽管还要花几年时间。DJ经常在播放Happy Hardcore时被排斥和恐吓。尽管在一些俱乐部或派对中，这些流派可以毫无冲突地并肩播放。代表艺人包括Hixxy、Sharkey、DJ Dougal、Scott Brown（部分）以及Brisk。
In the Dance hit charts of the early nineties, Eurodance and derivative forms reigned supreme. Eventually, even Hardcore became influenced, or – the other way around – Eurodance songs were turned into a Hardcore version: the catchy synth melodies were extremely sped up to around 180 bpm (which made them sound rather cheesy), old skool piano sounds (or ringing chimes) were added, and accelerated male (rap) verses and female chorus vocals filled in the remaining parts.

Happy Hardcore was a true parody of Gabber, a satire taken to the extreme, with children’s merchandising, colorful teen compilation CD’s, and even children’s parties, where Happy Hardcore was played all the time. Without a doubt, Happy Hardcore was despised by many of the “serious” Gabber Hardcore community, for which the genre was not only a commercial sellout, but a threat to their culture. They were right, as in one way or another Happy Hardcore already marked the end of the Gabber culture, though it would still take a couple of years. More often than not, DJ’s were repelled and intimidated when playing Happy Hardcore. Although in some clubs or parties these genres could be played alongside each other without any fuss, allowing for interesting fusions and crossovers.

Happy Hardcore formed a parallel stream of Hardcore alongside Gabber, with successent subgenres such as the almost identical Bouncy Techno, the frivolous Spanish subgenre Makina, and finally the more serious UK and Freeform Hardcore.
", "songlist": [ "Paul Elstak - Rainbow in the Sky", "Slipmatt & Eruption - Party People - 1996 Acetate⧸Dubplate", "Nakatomi - Children of the Night", "Technohead - I Wanna Be A Hippy (Flamman & Abraxas Radio Mix)", "Charly Lownoise & Mental Theo - Wonderful Days (Radio Edit) 1995 Hard Trance Happy Hardcore", "Dyewitness - Observing The Earth", "Party Animals - Aquarius (official music video)", "Lipstick I m A Raver", "Dune - Hardcore Vibes (Official Video)" ], "playlistID": "PLb15rbk6I4pNQVr0b1lPJfG9C5O4Aouay", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNQVr0b1lPJfG9C5O4Aouay", "spotify-playlist-link": "https://open.spotify.com/playlist/1Bq9oeXc3gtP6nWdu9yVNI?si=Zm1hPY_QQ9ixc27ZkAjlew", "name_zh": "快乐硬核 & 弹跳科技" }, "hct06": { "name": "SPEEDCORE, FRENCHCORE & TERRORCORE
速度核 / 法国核 & 恐怖核", "year": "1996", "supergenre-first-tag": "HARDCORE", "description": "
欢迎来到极端Gabber（Extreme Gabber/Extreme Hardcore）的世界。尽管人们可能预期的，这不是一个赘词。Gabber对硬核高科技舞曲（Hardcore Techno）世界的控制如此之强，以至于两个流派名称被用作同义词，碎片化为子流派是必然发生的。\n\n第一个大型的，Terrorcore（恐怖核），扩展了Gabber关于启示录和恐怖的图像和内容（让人想起重金属Heavy Metal）。骷髅、鲜血、钢铁和深色匹配Terrorcore的合成、尖锐声音。Terrorcore通常比Gabber更快，有时达到300bpm。它试图通过黑暗合成器贝斯线和侵略性、军事化的声音采样在听众中建立恐惧和恐怖，这解释了其同义词Doomcore和Stormtrooper。严重失真也不罕见。Terrorcore之后，一个新的问题儿童诞生了，一个更难认真对待的：Speedcore（速度核）。Speedcore如此之快，几乎没有其他形容词可以描述它。由于Speedcore的一切都是关于速度，引入变化的唯一方法是更快：一场幼稚的BPM竞赛，以记录的保持者子流派Extratone告终。代表艺人包括The Speed Freak、Delta 9、Disciples of Annihilation（Terrorcore）；m1dy、DJ Sharpnel（Speedcore）。
Welcome to the world of Extreme Gabber (or Extreme Hardcore). Despite what one would expect, this is not a pleonasm. The grip Gabber had on the world of Hardcore Techno was so strong that both genre names are used synonymously, and fragmentation into subgenres was bound to occur.

The first big one, Terrorcore, expands on Gabber’s imagery and content of apocalypse and horror (reminding of Heavy Metal). Skulls, blood, steel, and dark colors match the synthesized, sharp sounds of Terrorcore. Terrorcore is often even faster than Gabber, sometimes reaching 300bpm. It tries to install fear and terror in the listener by dark synth basslines and aggressive, military-like vocal samples, which explains its synonyms Doomcore and Stormtrooper. Heavy distortion is not uncommon as well.

After Terrorcore, a new problem child gets born, one that is much harder to take seriously: Speedcore. Speedcore is so fast that there are barely any other adjectives to describe it. Any description of sound gets lost in the ultra acceleration of Gabber beats. Because Speedcore is all about speed, the only way to introduce variation is going even faster: a childish BPM race ending in the record holder subgenre Extratone (1000bpm+). In this final frontier, beats succeed each other so rapidly that a single tone is all that remains.

In France, another subgenre known as Frenchcore gains popularity with a far more distorted, grittier sound and a “moderate” tempo (to 200bpm). Frenchcore, Terrorcore and Speedcore (alongside other, lesser known Hardcore subgenres) became independent hardcore schools that would gain their own club rooms or party stages.
", "songlist": [ "The Sickest Squad - Boomshakalaka", "Delta 9 - From Darkness", "Al Core - Nuclear Vision", "Androgyn Network - Brain Surgery", "Nordcore G.M.B.H. - 05 - Operation Nordcore", "Disciples Of Annihilation - Unleash The Brutality", "DJ Tron - Massacre", "Gabba Front Berlin - Speedcore Lacrima" ], "playlistID": "PLb15rbk6I4pOfr_Oc4Oyo0SWSMc8lCNxf", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOfr_Oc4Oyo0SWSMc8lCNxf", "spotify-playlist-link": "https://open.spotify.com/playlist/3IPxXx1NW7hAkfiHwsBwc5?si=mXKOKqV4QieiXyyPb6NvtQ", "name_zh": "速度核 / 法国核 & 恐怖核" }, "hct07": { "name": "DIGITAL HARDCORE & BREAKCORE
数字硬核 & 碎核", "year": "1997", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "DRUM 'N' BASS" ], "description": "
到九十年代末，创造原创、实验性电子音乐变得相当困难。所谓的EDM大爆发迅速饱和了舞曲流派的光谱。碎核（Breakcore）、Raggacore（Ragga影响）和数字硬核（Digital Hardcore，Rave影响）可以被视为从中脱颖而出的成功尝试：以它们包罗万象、不加区分的本质。Digital Hardcore和Breakcore深受工业噪音音乐（Industrial Noise Music）的影响，特别是强力电子（Power Electronics）。\n\n任何噪音和流派的结合都可能出现在脑海中（甚至古典音乐），但核心始终由极速（技术上可能的极限）鼓滚奏构成，带有无节奏、不可预测、令人迷失方向的碎拍和刺耳的声音效果。加上你典型的丛林次声波贝斯和一些强大的Gabber底鼓节拍（匹配疯狂的速度），你就有了对任何听众大脑造成浩劫和破坏的最混乱尝试。代表艺人包括Atari Teenage Riot、Alec Empire（Digital Hardcore）；Venetian Snares、Bong-Ra、Enduser、Shitmat（Breakcore）。
By the end of the nineties, it became rather difficult to create original, experimental electronic music. The so called “Big Boom of EDM” quickly saturated the spectrum of dance genres. Breakcore, Raggacore (Ragga-influences), and Digital Hardcore (Rave influences) could be seen as successful attempts to stick out of this: with their catch-all, indiscriminating nature. Digital Hardcore and Breakcore are heavily influenced by Industrial Noise Music, particularly Power Electronics. Sometimes Breakcore is also known as Noizecore or Noisecore, but this is highly confusing as the same term is being used for very different subgenres of Grindcore or Metalcore.

Any combination of noise and genre could come to mind (even Classical music) but the core always consists of extremely fast (the very limit of what is technically possible) drum rolls with arrhythmic, unpredictable, disorienting breaks and harsh sound effects. Add your typical Jungle subsonic bass and some powerful Gabber kick beats (matching the insane tempo) and you have the most chaotic attempt imaginable to wreak havoc and destruction upon any listener’s brain.
", "songlist": [ "Venetian Snares - Szamar madar", "Sabam Biem", "Speedranch vs End - Tea", "Igorrr - Tout Petit Moineau", "Atari Teenage Riot - Sick to Death", "Ec8or Dynamite (better Quality)", "SHIZUO - ＂SWEAT＂", "Bomb 20-Burn the shit down!", "Panacea - Found A Lover [HQ & HD]" ], "playlistID": "PLb15rbk6I4pNHE4KERFVSOvMrli3CQ4Kn", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNHE4KERFVSOvMrli3CQ4Kn", "spotify-playlist-link": "https://open.spotify.com/playlist/3I7f3VfzU6F0yT3DMIGzQr?si=gBpJHZGeRJi4DGj_3J6aTw", "name_zh": "数字硬核 & 碎核" }, "hct08": { "name": "UK HARDCORE & FREEFORM / TRANCECORE & ACIDCORE
英伦硬核 & 自由式 / 迷幻核 & 酸性核", "year": "1999", "supergenre-first-tag": "HARDCORE", "supergenre-second-tag": [ "master", "TRANCE" ], "description": "
在九十年代末，Happy Hardcore的快乐声音变得陈旧和可预测。在英国，Happy Hardcore用其快乐和形式化的结构换取了更粗糙和自由的东西。UK Hardcore基本上是Happy Hardcore的生存结果：更强、更快、更硬，且不那么快乐。这种音乐与迷幻舞曲（Trance）非常搭配，融合成一种新型音乐：自由形式硬核（Freeform Hardcore）或迷幻核（Trancecore）。\n\n正如Trance一样，不同的旋律、声音效果和贝斯线通道是音乐的一部分，所有歌曲都是器乐的。因为Trancecore将Hardcore与Trance融合，它与酸性（Trance）或Psytrance与Hardcore的融合非常相似，分别称为Acidcore或Psycore。这两个子流派之间的联系不出所料是TB-303的大量使用，它被以每一种可能的方式探索（甚至滥用），在Trancecore世界中也不陌生。因此，所有这些流派都是一大碗酸性和太空感的高速硬核，仿佛Rave从未消亡。代表艺人包括Kevin Energy、Sharkey（Freeform/Trancecore方向）、K-Complex、Gammer以及Darren Styles。
At the end of the nineties, the “happy” sound of Happy Hardcore had gone stale and predictable. In the UK, Happy Hardcore traded its happiness and formal structure for something rougher and free. “UK Hardcore” basically is the survival outcome of Happy Hardcore: stronger, faster, harder, and less happy. The type of music went really well with Trance, merging into a new type of music: Freeform Hardcore or Trancecore. Just like Trance, different channels of melodies, sound effects, and basslines are part of the music, and all of the songs are instrumental.

Because Trancecore fuses Hardcore with Trance it is very similar to the fusions of either Acid (Trance) or Psytrance with Hardcore, respectively known as Acidcore or Psycore. The connection between these two subgenres is unsurprisingly the heavy use of the TB-303, which becomes explored (or even abused) in every possible way, and is no stranger in the world of Trancecore either. Therefore, all these genres are one big bowl of acid and spacey speedy Hardcore, as if Rave never died.
", "songlist": [ "Sharkey & Eclipse- The Warning", "Pilgrim 2000 (Original Mix)", "Scott Majestik - Acid Dreams", "Kaos & Ethos — Lost", "Brisk & Trixxy- Back To The Top (98 Remix)", "Dj Buzz Fuzz - Frequencies", "Mr. Gasmask - Jawbreaker", "Cellblock-X - Return Of Spoo", "Pzylo - X-trabass", "Acidolido - Sabotage" ], "playlistID": "PLb15rbk6I4pPB5cdWH9xApLsx50pMFggn", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPB5cdWH9xApLsx50pMFggn", "spotify-playlist-link": "https://open.spotify.com/playlist/4Quykpk9OgQGGZUJn1eIp7?si=0MCQVSFNRa-sUKZ38BfokA", "name_zh": "英伦硬核 & 自由式 / 迷幻核 & 酸性核" }, "hct09": { "name": "HARDSTYLE (& JUMPSTYLE)
硬派舞曲 & 跳跃舞曲", "year": "2000", "supergenre-first-tag": "HARDCORE", "description": "
Hardstyle发展于一群朋友试图重新创造老派Gabber的原始、随意感觉，而不明确引用该流派（即负面含义）。Hardstyle取得了成功，不少是由于女性更大的吸引力。Hardstyle始于荷兰鹿特丹，在那里它也被称为Hard Bass。\n\nHardstyle是一个庞大的流派，包含大量歌曲、作曲家和多个子流派。虽然仍然主要在地下，Hardstyle自出生以来一直存活，并仍然拥有强大的粉丝群。这种流行度的可能原因是EDM最重流派的吸引因素的良好结合：Gabber、Hardtechno和Hard NRG，这使Hardstyle成为一种灵活的多面手，拥有高科技舞曲（Techno）、浩室（House）、迷幻舞曲（Trance）和硬核（Hardcore）影响（只要它超硬和超响）。Hardtechno相对Gabber较慢的速度和磨蚀性声音、Hard NRG对合成器刺音和声音采样的关注，以及Gabber对底鼓或旋律的典型失真，是Hardstyle辛辣熔炉的关键成分。几年后，一个非常流行的子流派称为Jump或Jumpstyle到来。代表艺人包括Headhunterz、Noisecontrollers、Brennan Heart、Wildstylez以及Da Tweekaz。
Hardstyle develops when a group of friends tries to recreate the original, casual feeling of old skool Gabber without the explicit reference towards the genre (read: the negative connotation). Hardstyle becomes a success, not the least due to a larger appeal by women. Hardstyle started in Rotterdam, Netherlands, where it is also known as Hard Bass.

Hardstyle is a massive genre, incorporating tons of songs, composers, and multiple subgenres. Though still largely underground, Hardstyle has survived since its birth and still has a strong fanbase. The probable reason for this popularity is a good combination of the appealing factors of EDM’s heaviest genres: Gabber, Hardtechno, and Hard NRG, which makes Hardstyle a flexible jack of all trades with Techno, House, Trance, and Hardcore influences (as long as it’s ultra hard and loud). The “slower” tempo and abrasive sounds of Hardtechno (compared to Gabber), the focus on synth stabs and vocal samples of Hard NRG, and the typical distortion on kick drums or melodies of Gabber, are the key ingredients of Hardstyle’s spicy melting pot.

After a few years, a very popular subgenre known as Jump or Jumpstyle arrives. Jumpstyle becomes a brief hype when even mature, common people and parents start “jumping”: a bouncing dance, similar to hakken but slower and less intense. Afterwards, Jumpstyle fused with Hardtek and becomes Tekstyle: a genre that is still in its infancy but quite promising.
", "songlist": [ "The Prophet - R3tro (Official Videoclip)", "Technoboy - Ravers Rule", "Headhunterz - Doomed", "Wildstylez - Santiago (Official Video)", "Noisecontrollers - So High (Official Videoclip)", "The Beholder meets DJ Zany - Euphoria [HQ Original]", "Darkraver - komt ie dan he", "Jeckyll & Hyde - Freefall (Official Video HQ)", "Halloween (Extended)" ], "playlistID": "PLb15rbk6I4pMC4LCP188ESuamTvLhWfyF", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMC4LCP188ESuamTvLhWfyF", "spotify-playlist-link": "https://open.spotify.com/playlist/0s4NVVcLYVoEjmwQNWK7SW?si=F4kjE1FyTd65tb0nAjvTrA", "name_zh": "硬派舞曲 & 跳跃舞曲" }, "hct10": { "name": "NU STYLE (GABBER) / MAINSTREAM HARDCORE
新派鹿特丹 / 主流硬核", "year": "2002", "supergenre-first-tag": "HARDCORE", "description": "
1998年，Gabber因大量负面宣传而走下坡路。Gabber开始排斥任何事物以进一步扩大与他们所谓的mellow的差距：所有其他更柔软类型的音乐及其对应的亚文化。来自流氓、法西斯亚文化的吸引力、女性追随者的急剧下降，以及不断增加的重型安非他命和MDMA使用，杀死了这个讽刺地以友谊命名的流派。\n\n尽管困难重重，一波新的Gabber制作人复活了他们最喜欢的流派，同时从过去吸取了教训。2002年，第一批新风格Gabber（Nu Style Gabber）唱片出现，由于更专业的硬件和软件，它们更具技术性和复杂性。受近期流行的Hardstyle影响，添加了一抹旋律和人声，同时降低了平均速度。所有这些元素使新风格比早期Gabber更容易被普通听众接受。通过完善最快和最硬的舞曲流派，Old Style和Nu Style combined在硬核超级流派内变得如此庞大和突出，以至于Hardcore一词几乎与Gabber同义。因此，Nu Style也被称为主流硬核（Mainstream Hardcore）。它甚至到达日本，在那里该流派变得相当流行。代表艺人包括Endymion、Nosferatu、Tha Playah、DJ Mad Dog以及Art of Fighters。
In 1998 Gabber went on the decline due to much negative publicity. Gabber starts to reject anything to further widen the gap with what they call “mellow”: all other, softer type of music and its corresponding subcultures. Appeal from hooligans, fascist subcultures, a steep decline in female followers, and ever increasing, heavy amphetamine and MDMA use killed the genre that was ironically named after friendship.

Despite all odds, a new wave of Gabber producers resurrected their favorite genre, while learning from the past. In 2002 the first Nu Style Gabber records appear, which are more technical and complex due to more professional hardware and software. Influenced by the recent and popular Hardstyle, a slight touch of melody and vocals is added, while also lowering the average tempo. All these elements make Nu Style more accessible to the average listener than early Gabber. By perfecting the fastest and hardest Dance genre, Old Style and Nu Style combined became so large and prominent within the super-genre of Hardcore, that the term Hardcore is almost synonymous with Gabber. Therefore Nu Style is also dubbed Mainstream Hardcore. It even reached Japan, where the genre became quite popular and known as J-Core (obviously very noisy, but also more melodic). Often Nu Style incorporates flangers as the main synth melody, which give it that harsh, berserk Rave feeling, washing over the crowd, feeding the brain, and preparing the body…to destroy everything.
", "songlist": [ "Endymion & Nosferatu - Act Of God (Thunderdome Anthem 2008)", "Catscan - Design The Future (HQ)", "Evil Activities - Nobody Said It Was Easy", "DJ Dione - Hardcore Is Beautiful", "Alienator - Prey 2 Panic", "Ruffneck & Ophidian - Hardcore Unity (Fantasy Island Festival 2014 Anthem)", "Predator & Angerfist - Legend HQ", "RoughSketch - Beauty", "J-Core #226 - moro - She Wanna Paint Red" ], "playlistID": "PLb15rbk6I4pMVP44wywo0WJy_i0Motgt0", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMVP44wywo0WJy_i0Motgt0", "spotify-playlist-link": "https://open.spotify.com/playlist/6LsfE5HXfqucsyetQVSddd?si=jX2FXTCJT4G3fmHHxjO3XA", "name_zh": "新派鹿特丹 / 主流硬核" }, "tec01": { "name": "DETROIT TECHNO
底特律科技舞曲", "year": "1985", "supergenre-first-tag": "TECHNO", "description": "
尽管官方上源自浩室（House），高科技舞曲（Techno）在此之前已有沉睡的前存在。在压抑、寒冷的汽车城底特律，高失业率让人几乎没有理由庆祝，少数精选的作曲家正在用模拟音序器制作另一种类型的舞曲音乐。这不是为上流阶级亢奋庆祝而设的东西，而是为这座被废弃工厂和机器般节奏的城市的下层阶级配乐。基于受放克（Funk）影响的电子乐（Electro）蓝图，Techno演变——借用芝加哥浩室的强烈节拍——成为一种快速节奏。音乐（几乎）严格是器乐的，任何放克影响被剥离到最基本的最小量。（电子）节奏的解放成为事实；其未来的影响不可预见且无法想象。\n\n底特律Techno首先是三位传奇Techno教父的创意，他们被称为Belleville Three：Juan Atkins（发起者）、Kevin Saunderson（提升者）和Derrick May（创新者）。Belleville Three早在1982年就开始实验电子音乐，在底特律电子乐遗产的基础上继续建设。他们的音乐将放克的灵魂与机器的精确性结合，创造了前所未有的东西。代表艺人包括Juan Atkins（Model 500）、Derrick May、Kevin Saunderson（Inner City）、Jeff Mills以及Carl Craig。
Although officially originated from House, Techno already had a slumbering pre-existence before that. In the depressing, cold “motor city” of Detroit, where high unemployment rates gave little reason to celebrate, a select few composers were working with analog sequencers on another type of Dance music. Something not meant for upper class euphoric celebration, but as a soundtrack for the lower class of this city of abandoned factories and machine-like rhythm. Based on the blueprint of Funk-influenced Electro, Techno evolved – borrowing the pounding beat from Chicago House – into a fast rhythm. The music is (almost) strictly instrumental, where any Funk influence is stripped down to its bare minimum. The emancipation of (electronic) rhythm became a fact; its future influence unforeseen and unimaginable.

Detroit Techno was first and foremost the brainchild of the three legendary Godfathers of Techno, known as the Belleville Three: Juan Atkins (the “Originator”), Kevin Saunderson (the “Elevator”) and Derrick May (the “Innovator”). The Belleville Three were already experimenting with electronic music in 1982, building further on the Electro legacy of Detroit nurtured by the Electrifying Mojo; this is known as Detroit Electro: Proto-Techno. It wasn’t after the explosion of Chicago House though, that Techno truly took form as the genre we know.

It is recommended to regard Acid Techno as a part of Detroit Techno. Old skool Detroit producers loved to experiment with the TB-303 and the two genres evolved simultaneously with large amounts of overlapping.
", "songlist": [ "Juan Atkins - Techno City", "Derrick May - The Dance", "Kevin Saunderson - Bassline", "A Number Of Names -- Sharevari 12''", "Cybotron - Techno City", "Mad Mike - Hi-Tech Dreams", "Claude Young - Impolite To Refuse", "Rhythm Is Rhythm - Nude Photo", "Anthony ＂Shake＂ Shakir - Soundblaster", "Underground Resistance - The Final Frontier [HD]", "Jeff Mills - The Bells", "Model 600 - Update (Version U.R.) - Metroplex" ], "playlistID": "PLb15rbk6I4pOXxLh6YbJ4WNGeJCS5m7Sh", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOXxLh6YbJ4WNGeJCS5m7Sh", "spotify-playlist-link": "https://open.spotify.com/playlist/6IjOQGeugMrOt9xTOGi4MD?si=EUvoFbwgTs2CNY-jJHmJVg", "name_zh": "底特律科技舞曲" }, "tec02": { "name": "(FREE)TEK(K)NO / HARDTEK
自由科技舞曲 / 硬科技", "year": "1991", "supergenre-first-tag": "TECHNO", "description": "
自由高科技舞曲（Free Tekno/Tekkno）是经典Techno与后Rave文化运动的相遇之处。许多（德国）制作人渴望在稍微更微妙、有节奏循环的方法中尝试硬核（Techno）更快的BPM和过度活跃的Rave声音效果。在柏林墙倒塌之后，德国大力欢迎无政府主义和实验性音乐。但这一流派真正爆发是在英国Rave制作人和音响系统团队在1994年刑事司法法案启动后被迫逃离该国之时。这些影响的结果是弯曲朝向Techno的Rave：刺耳、极速（170-200bpm）且重击；teKno（aka tekkno）而非更柔和、有氛围的teCHno。\n\nTekno也被称为Hardtek，但该流派不如Hardtechno硬。在一场狂野且迅速蔓延至整个欧洲大陆的场景中，派对和DJ不知从何处出现，特别是在捷克共和国和匈牙利。突然间，任何人和所有人都可以制作舞曲音乐，Techno不再是美国精英地下事物。在欧洲，它成为一场全面的、DIY的、解放性的流行文化：Techno被释放了。对应的文化运动非常类似于早期的Rave文化，拥有自己的音响系统、旅行车队和无尽的非法露天派对。代表艺人包括Spiral Tribe、Manu le Malin、The Speed Freak（Tekno）、Curley、FKY。
(Free)Tekno is where Classic Techno meets the post-Rave cultural movement. Many (German) producers were eager to try out the faster BPM and hyperactive Rave sound effects of Hardcore (Techno) in a slightly more subtle, rhythmically looping approach. In the afterwake of the fall of the Berlin Wall, Germany heavily welcomes anarchistic and experimental music. But the genre really bursts open when British Rave producers and sound system crews are forced to flee the country after the initiation of the Criminal Justice Act in 1994. The result of these influences is Rave bended towards Techno: harsh, extremely fast (170-200bpm) and pounding; teKno (aka tekkno) instead of the softer, ambient teCHno. Tekno is also known as Hardtek, but the genre is not as hard as Hardtechno. In a wild and rapidly spreading scene across the European continent (diaspora), parties and DJ’s popped up out of nowhere, particularly in the Chech Republic and Hungaria. Suddenly anyone and everyone could make dance music, and Techno was no longer an American elite underground thing. In Europe, it became a full-scale, DIY, liberating pop culture: Techno was set free. The corresponding cultural movement is very similar to Rave but on a much smaller scale: sound systems and Tek(no) tribes (communities) join up at free pop-up festivals or parties, usually at illegal places. Despite trouble with authorities, especially at more recent Hardtek festivals, early Freetekno helped spread Dance awareness (albeit in a very reactionary manner) and spearheaded official funding for all EDM festivals and parties in Europe, whereas the US refused to do so at the time.
", "songlist": [ "Spiral Tribe ＂ FFWD THE REVOLUTION＂", "69DB - OrnOrm", "Crystal Distortion - Power to the Pipe", "Jack acid - acid tension (OLDSKULL 02)", "Mala (Addictik) - La Mescalina [Hardtek]", "Kaos -- 23 aera -- A", "Heretik-Beuns-Game Over", "Metek Sound System - Metek Style" ], "playlistID": "PLb15rbk6I4pPH7reBz6vIQIWzgLbTtBaw", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPH7reBz6vIQIWzgLbTtBaw", "spotify-playlist-link": "https://open.spotify.com/playlist/4aPvD3KlsDFs0pIYG0AqmN?si=if5zsFv7Sh63DwWMXUMc0g", "name_zh": "自由科技舞曲 / 硬科技" }, "tec03": { "name": "AMBIENT TECHNO & IDM (INTELLIGENT DANCE MUSIC)
氛围科技舞曲 & IDM", "year": "1992", "supergenre-first-tag": "TECHNO", "supergenre-second-tag": [ "master", "DOWNTEMPO" ], "description": "
智能舞曲音乐（Intelligent Dance Music, IDM/ Braindance）这一术语被其实践者和反对者同样鄙视。这是有道理的，因为究竟是什么使音乐智能？当然从未有任何意图这样做。早期IDM作曲家只是想用模拟乐器和采样创造Techno音乐。正如在Drum 'n' Bass中发现的极性（精致/智识对通用/娱乐），IDM是Rave的对立极：内敛、折衷、缓慢，并决心保持地下状态。\n\n这并非巧合：特别是碎拍硬核（Breakbeat Hardcore）是对IDM这种沉重反弹负责的。歌曲具有复杂、意外的结构，由各种模拟效果、酸性哔声、冲刷声、碎拍和搓碟声组成。通常有不止一条贝斯线，尽可能深沉。IDM有时很难与Artcore/Jazzstep或更实验形式的碎拍分开，因为经典的四拍地板Techno节拍经常被放弃。在Jungle崛起之后，IDM也开始使用Drum 'n' Bass节奏，这使得该流派几乎不可能归类到一个单一超级流派中。代表艺人包括Aphex Twin、Autechre、Boards of Canada、Squarepusher以及μ-Ziq。
The term “Intelligent Dance Music” or IDM (aka Braindance) is despised by both its practitioners as its opponents. This makes sense, as what exactly does make music intelligent? There certainly never was any intention to do so. Early IDM composers just wanted to create Techno music with analog instruments and samples. Just as the polarity one can find in Drum ‘n’ Bass (sophisticated/intellectual versus generic/ entertaining), IDM was the opposite pole of Rave: reserved, eclectic, slow, and determined to stay underground. This was no coincidence: especially Breakbeat Hardcore was responsible for the heavy backlash that is IDM. The songs have a complicated, unexpected structure and are compiled of a variety of analog effects, acid bleeps, washes, breaks and scratches. There’s often more than one bassline, as deep as possible. IDM is sometimes hard to separate from Artcore/Jazzstep or more experimental forms of Breakbeat, because the classic four-to-the-floor Techno beat is often abandoned. After the rise of Jungle, IDM starts to use Drum ‘n’ Bass rhythms as well, which makes the genre almost impossible to categorize within a single super-genre. For those who like to restrain from a certain degree of pigeonholing, IDM can be regarded as one with Ambient Techno, as they share a great deal of overlapping.

Like Rave, IDM was born in a series of illegal parties across the UK, but where they preferred the opposite type of music. Center point was the city of Sheffield, with the leading label Warp Records. At first the music was rather minimal and less experimental and called Bleep Techno or Bleep ‘n’ Bass. Eventually the genre mingled with early Ambient House and a bit of Reggae sound techniques into a form of music that still sounds fresh and unexpected today.
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工业科技舞曲 & 施兰茨", "year": "1994", "supergenre-first-tag": "TECHNO", "description": "
底特律Techno在美国只有非常有限的流行度。美国DJ被迫将目光转向欧洲，并在德国找到了Techno的完美滋生地。当柏林墙在1989年倒塌时，这座城市成为一个空容器，张开双臂欢迎Techno。废弃的工业建筑如柏林著名的Trésor被大众占领为他们的教堂，Techno是布道。德国人渴望硬核、工业、不妥协的节拍，在新德意志浪潮（Neue Deutsche Welle）、比利时Techno（New Beat遇见早期Techno）和EBM的影响下，底特律Techno变成了一种更快（135 bpm）的自身版本，但特别是更具磨蚀性。\n\n第二波底特律Techno——又名工业Techno（Industrial Techno）——因此是面向欧洲观众的改编，由美国制作人创作，主要以其精髓唱片公司而闻名：Underground Resistance（UR）和Plus 8（+8）。尽管早期UR和+8唱片更多属于底特律Techno的一部分，但后期作品由于明显更硬和粗糙的声音而与其形成强烈对比。比利时R&S Records也拥抱美国Techno制作人，其中一些开始发展更重的声音。代表艺人包括Jeff Mills（UR）、Robert Hood、Regis、Surgeon以及Ancient Methods。
Detroit Techno only had very limited popularity in the States. American DJ’s were forced to turn their eye on Europe and found the perfect breeding ground for Techno in Germany. When the Berlin wall falls in 1989, the city becomes an empty vessel, welcoming Techno with open arms. Abandoned Industrial buildings such as the famous Trésor in Berlin became seized by the masses as their church where Techno was the sermon. Germans were thirsty for hard, industrial, uncompromising beats, and under the influence of the Neue Deutsche Welle (German New Wave), Belgian Techno (New Beat meets early Techno) and EBM, Detroit Techno changes into a harder and faster (135 bpm) version of itself but particularly more abrasive. This second wave of Detroit Techno – aka Industrial Techno – is thereby an adaptation for a European audience by American producers, primarily known by its quintessential record labels: Underground Resistance (UR) and Plus 8 (+8). Although early UR and +8 records are more a part of Detroit Techno, the later works form a strong contrast with it, due to clearly a harder and rugged sound. Belgian R&S Records embraces American Techno producers as well, where some start to develop a slightly more euphoric sound towards Rave, known as Brutal Techno.

Around 1994, German Techno becomes even harder and faster, with maximum-intensity kick drums and an average bpm of 145. This specific genre was named “Schranz” by Chris Liebing, yet the term has no litteral translation. Schranz focuses less on bass than Industrial Techno, and more on distortion and repetition. Industrial Techno, Brutal Techno and Schranz exhibit a long evolution of Detroit Techno once it sets foot on European soil; a genre that clearly is hard to constrain, but rather a lineage that continuously strengthens and accelerates, culminating in Hardtechno.
", "songlist": [ "Joey Beltram - Energy Flash (Original Mix)", "Mescalinum United We Have Arrived", "Richie Hawtin - Minus ⧸ Orange 1", "Dave Clarke - The Storm (Red Three)", "Show Me the Rhythm", "Planetary Assault Systems - Rip The Cut", "DJ Hell - Three Degrees Kelvin (Acid Techno 1994)", "Chris Liebing - Gassenhauer (HQ)", "CODE INDUSTRY - FURY 1991", "Oliver Klitzing - I Like That Beat ( A1 )", "Sven Wittekind - Darkness All Night (Original mix)" ], "playlistID": "PLb15rbk6I4pMkk9EfTFPU8eu4yO7kZhue", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMkk9EfTFPU8eu4yO7kZhue", "spotify-playlist-link": "https://open.spotify.com/playlist/7x2Is4YgWLg2qtzqWuGYrg?si=6YZVD5xVTFqYE9C3egHLzQ", "name_zh": "工业科技舞曲 & 施兰茨" }, "tec05": { "name": "MINIMAL TECHNO
极简科技舞曲", "year": "1994", "supergenre-first-tag": "TECHNO", "description": "
在九十年代初，Techno正被它最反抗的事物所污染：旋律、折衷主义、噪音。特别是自由Techno（Freetechno）的任何事物皆可心态和Gabber硬核的速度超速/噪音过量对一些作曲家来说变得太过分。极简Techno（Minimal Techno）是他们的避难所，该流派正是你所预期的：一个简单的4/4电子底鼓节拍，被有节奏的电子声音增强，但几乎没有更多。一些作者甚至声称极简Techno由它所拒绝自己的东西来定义。\n\n极简Techno更专注于缓慢而稳定的进展，因此可以有比常规Techno长得多的歌曲。由于所有类型的旋律都被移除，它可能被感知为黑暗和威胁性，这一特征有时在其声音处理中被增强。但由于其纯粹性和简单性，其吸引力和声音是永恒的，自诞生以来承受了EDM世界中的任何变化或革命。这正是许多Techno粉丝崇拜极简的原因；由于其纯粹主义，它离浩室（House）、迷幻舞曲（Trance）和硬核（Hardcore）最远：Techno的典范。两个较小的Techno子流派与极简Techno密切相关：重要的Dub Techno和Click Techno。代表艺人包括Richie Hawtin（Plastikman）、Robert Hood（极简时期）、Basic Channel（Dub Techno）、Rødhad以及Ben Klock。
In the early nineties Techno was being contaminated by the things it defies most: melody, eclecticism, noise. Especially the anything-goes-mentality of Freetechno and the tempo-overdrive / noise-overdose of Gabber Hardcore became too much for a number of composers. Minimal Techno was their resort and the genre is exactly what you would expect: a simple 4/4 electronic kick beat, enhanced by rhythmical electronic sounds, but with barely anything more. Some authors even claim that Minimal Techno “is defined by what it denies itself”. Minimal Techno focuses more on slow and steady progression, and therefore can have much longer songs than regular Techno. Since all kind of melody is removed, it may be perceived as dark and menacing, a trait that sometimes gets enhanced in its sound manipulation. But because of its purity and simplicity, its appeal and sound is timeless, withstanding any change or revolution in the world of EDM since its birth. And this is exactly why many Techno fans adore Minimal; due to its purism it is furthest removed from House, Trance, and Hardcore: the paragon of Techno.

Two smaller Techno subgenres are closely related to Minimal Techno: the important Dub Techno, which features influences from Dub and recently regained popularity, and Gloomcore, a very obscure, darker form of Minimal Techno.
", "songlist": [ "Robert Hood - And Then We Planned Our Escape", "Plastikman - Spastik", "Basic Channel - Octagon", "Green Velvet - Flash (1995)", "Mike Ink - Indulto", "Ø (Mika Vainio) - Stratostaatti", "Safety Scissors - Fridgelife", "Daniel Bell - Baby Judy" ], "playlistID": "PLb15rbk6I4pMzXlOFitCIghF2j4WolDwC", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMzXlOFitCIghF2j4WolDwC", "spotify-playlist-link": "https://open.spotify.com/playlist/1Z6jWMo7th0oe86ck44SmB?si=q4i5U8b6Q52w92pQzsJRhg", "name_zh": "极简科技舞曲" }, "tec06": { "name": "TECH HOUSE
科技浩室", "year": "1996", "supergenre-first-tag": "TECHNO", "supergenre-second-tag": [ "master", "HOUSE" ], "description": "
科技浩室（Tech House）正如你所预期的：浩室（House）与高科技舞曲（Techno）之间的中间地带。芝加哥/深浩室（Chicago/Deep House）的声音在极简Techno节拍上被重新混音，以超干净的数字制作。Tech House没有著名的热门单曲或颂歌：它是大量面向DJ的唱片，专门为混音而制作。这是因为它是任何DJ可以播放的最安全的舞曲音乐，因为它从不过于偏向一个类别或另一个。\n\n它不会太旋律化、朗朗上口或狂喜以成为纯粹的浩室，因此它可以轻松混音并作为连续节拍溶解在背景中。它也不会太有节奏或极简以成为纯粹的Techno。Tech House比常规浩室以更多失真（通常在底鼓上）、更短的声音、更明显的军鼓和更不温暖/更数字化的合成器旋律为特征。然而，它比Techno更有结构，通常以声音采样或更折衷的影响为特征。代表艺人包括Carl Cox、Loco Dice、Luciano、Hot Since 82以及Jamie Jones。
Tech House is exactly what you would expect: a go-between of House and Techno. The sound of Chicago/Deep House is remixed on top of a minimal Techno beat in hyperclean, digital productions. Tech House has no famous hits or anthems: it is a massive abundance of DJ-targeted records specifically made for mixing. This is because it’s the safest Dance music any DJ can play as it never strays too far into one category or another. It’s not too melodic, catchy or ecstatic to be straight House so it can be easily mixed and dissolve as a continuous beat in the background. Neither is it too rhythmical or minimal to be pure Techno. Tech House features more distortion (often on the kicks), shorter sounds, more pronounced snares, and less warm/more digital synth melodies than regular House. It is however more structured than Techno and often features vocal samples or more eclectic influences.
", "songlist": [ "Eddie Richards ‎-- Be Still", "Colin Dale - You Know How (Mothersole & Freemans 'Freesole Dub')", "Laurent Wolf - Together (promo mix)", "Blake Baxter - Get Layed", "Terry Francis - Loving you", "Gene Farris - Move Your Body", "Jay Tripwire - How We Used To Do It", "Housey Doingz - Lounge" ], "playlistID": "PLb15rbk6I4pMJfEqqBsgZ9nKcogQIArgS", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMJfEqqBsgZ9nKcogQIArgS", "spotify-playlist-link": "https://open.spotify.com/playlist/1skfNuW7Iq66TwkfW8kHCt?si=c1-Mw0r0RK6x-zHJ_QWS5A", "name_zh": "科技浩室" }, "tec07": { "name": "TECH TRANCE
科技迷幻", "year": "1998", "supergenre-first-tag": "TECHNO", "supergenre-second-tag": [ "master", "TRANCE" ], "description": "
科技迷幻舞曲（Tech Trance/Techno Trance）确实是高科技舞曲（Techno）与迷幻舞曲（Trance）之间的中间地带。尽管大多数歌曲倾向于偏向Techno，但大多数艺术家具有Trance背景。Tech Trance与Trance的区别在于缺乏积聚或分解，旋律以克制的方式处理：没有琶音、渐进演变或多层叠加。\n\n其Trance人格在于失真合成声音结合成重复的主导动机（leitmotif），一遍又一遍。这是Tech Trance最可辨识的标志。很难用传统的、催眠的Trance方式将这种动机描述为旋律。在重复的硬合成器音符系列上创新和密集地使用延迟，使该流派更像一个一招鲜，但那一招执行得完美。Tech Trance也负责将侧链（side-chaining）引入EDM世界：一种降低某些频率音量的技术，通常用于制造响亮贝斯线的幻觉。尽管起源于1998年，但直到2006年Techno Trance才上升到前台。Techno Trance的力量在于一种诱人的动起来心态：容易进入，难以静止不动。代表艺人包括Sander van Doorn（早期）、Marco V、Randy Katana、Simon Patterson（Tech Trance时期）以及Mark Sherry。
Tech Trance aka Techno Trance is indeed the middle ground between Techno and Trance. Although most songs tend to lean towards Techno, the majority of artists have a Trance background. Tech Trance differs from Trance by lacking build-ups or breakdowns, and melody is approached with restraint: no arpeggios, progressive evolution or multi-layering. Its Trance personality lies in the conjunction of distorted synthesized sounds into a repetitive leitmotif, over and over again. This is Tech Trance’s most recognizable trademark. One can hardly describe this motif as melody in a traditional, hypnotic Trance manner. Innovative and intensive use of delay on a recurring series of hard synth notes turns the genre more into a one-trick-pony, but with perfect execution of that trick. Tech Trance is also responsible for introducing side-chaining into the world of EDM: a technology to reduce the volume of certain frequencies, which is often used to create the illusion of a loud bassline.

Though originated in 1998, it wasn’t until 2006 that Techno Trance rose to the foreground. The strength of Techno Trance lies in a seducing “go-go” mentality: easy to get into, hard to stand still. Compared to e.g. NRG, Tech Trance is more uptempo and features an abundance of percussion assembled into complex, rushing rhythms: the craftsmanship of Techno married to the hypnotism of Trance.
", "songlist": [ "Oliver Lieb - Parallax (Original Mix) [Official Audio]", "3.1", "Marco V - Godd", "Omnia (Techtrance Mix) - Jesselyn", "Ernesto vs Bastian - Who's the starter", "timo maas - old school vibes", "Beautiful Mind - Marcel Woods", "Der Dritte Raum - Hale Bopp (original mix)", "Breeder - The Chain (Babealicious Mix)", "Ricky Le Roy - Metempsicosi" ], "playlistID": "PLb15rbk6I4pOGVgD_EsfX7J8LQYbAA2eO", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOGVgD_EsfX7J8LQYbAA2eO", "spotify-playlist-link": "https://open.spotify.com/playlist/2g32Vwk7MFV1Q1YYa1JNQf?si=W2esWRF2TWCdQgmDFCFJsw", "name_zh": "科技迷幻" }, "tec08": { "name": "HARDTECHNO (SCHRANZ II)
硬科技舞曲 / 施兰茨 II", "year": "2000", "supergenre-first-tag": "TECHNO", "description": "
一场持续且愤怒的劈砍和冲刺Techno节拍的攻击，以不可思议的速度（150bpm或更高），就像一个挥舞大锤的精神病发条玩具：这就是硬Techno（Hardtechno）。因为Hardtechno更多是Schranz的演变而非明确的继承者，它也继承了其名称作为别名。该流派从早期Schranz、Gabber硬核和极简Techno中缓慢演变而来，但与其他硬核EDM流派明显可区分。\n\n由于流派极简主义性质和可辨识的Hardtechno冲刺失真，所有节拍听起来非常相似。变化通过声音、采样和微妙旋律添加，它们相互交替，从而增强节奏和速度。典型的Hardtechno底鼓被严重失真，以至于它们似乎被静音，而不是像其他硬核EDM流派那样被强调；就像一层白噪音的滤波器被放在节奏之上。Hardtechno变得越来越强大，将对纯粹主义的热爱与硬核边缘心态和克制不搞Rave或露骨声音的纪律结合起来。从2007年起，大多数大型Techno音乐节以Hardtechno为主导。代表艺人包括Chris Liebing（Hardtechno时期）、DJ Amok、Sven Wittekind、O.B.I.以及Dj Hammond。
A constant and furious attack of hacking and rushing Techno beats at an incredible rate (150bpm or more), like a psychopathic wind-up toy wielding a sledge hammer: that is Hardtechno. Because Hardtechno is more an evolution of Schranz than a distinct successor, it also inherited its name as an alias. The genre slowly evolved out of early Schranz, Gabber Hardcore, and Minimal Techno, but is clearly distinguishable from other Hard EDM genres. The beats all sound very similar due to the minimalist nature of the genre and the recognizable Hardtechno rush distortions. Variation is added by sounds, samples and subtle melodies, which alternate each other and thereby enhance the rhythm and tempo. Typical Hardtechno kick drums are heavily distorted in such a way that they seem muted instead of punctuated like other Hard EDM genres; it’s like a filter of white noise is put on top of the rhythm.

Hardtechno has grown stronger and stronger, combining the love for purism with a hard edge mentality and a discipline to refrain from Ravey or explicit sounds. The downside – especially for any adversary - is that all songs sound incredibly alike, almost in a satirical manner. From 2007 on, most large EDM or Techno festivals have their own Hardtechno stage, and large club parties usually have a separate Hardtechno room as well, which is not very difficult to identify.
", "songlist": [ "Frank Kvitta Reinsteckefuchs", "Weichentechnikk & Waldhaus - Es gibt kein Battle [TAPE] INJECTION", "Killswitch vs. Reset - Freddys Revenge", "Greg Notill - Transcendance", "DJ Amok - Nightmare", "dj rush my palazzo", "Arkus P Hexen Process", "Come Get Some" ], "playlistID": "PLb15rbk6I4pMP6IudXE-SmirjwVzm7tWF", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMP6IudXE-SmirjwVzm7tWF", "spotify-playlist-link": "https://open.spotify.com/playlist/4FpP1GMtCine21ghP7hxn5?si=GHlr9bsbS4Cm7Kn_cbRf2A", "name_zh": "硬科技舞曲 / 施兰茨 II" }, "hou01": { "name": "CHICAGO HOUSE & GARAGE HOUSE
芝加哥浩室 & 车库浩室", "year": "1984", "supergenre-first-tag": "HOUSE", "description": "
在1984年之前，芝加哥的同性恋迪斯科舞厅（主要面向黑人男性）已经有了漫长、颓废、超性化派对的历史。但突然间场景变得甚至更加强烈：迪斯科的四拍地板节拍（four-to-the-floor beat）变得更加突出，大部分歌词消失了，反拍踩镲、合成器贝斯线和钢琴取代了它们。芝加哥浩室（Chicago House）之王是TR-909鼓机，以流行的122-125bpm速度（不太快，不太慢）无休止地敲击比以前更重的底鼓。\n\n相对较慢的EDM速度、深沉丰富的R&B贝斯、diva人声（通常）和撩人钢琴旋律的结合，在一阵阵刺痛的、通宵达旦的舞蹈感觉中达到高潮，并被摇头丸（XTC/ecstasy）所强化。在纽约，同样的故事发生了，但带有更多来自灵魂乐（Soul）和福音音乐（Gospel）的元素，称为车库浩室（Garage House/US Garage）。纽约浩室DJ，如传奇的Larry Levan，将更多氛围音乐（Ambient）与浩室混合，在长期发展和实验过程中塑造了车库浩室。代表艺人包括Frankie Knuckles、Marshall Jefferson、Larry Heard、Todd Terry以及Tony Humphries。
The gay discotheques of Chicago (mainly for black males) already had a history of long, decadent, hypersexual parties before 1984. But suddenly the scene changed into something even more intense: the Disco four-to-the-floor beat got more pronounced, most of the lyrics disappeared, and offbeat hi-hats, synth basslines and pianos took their place. King of Chicago House was the TR-909 drum computer, endlessly pounding even harder kick drums than before at the popular rate of 122-125bpm (not too fast, not too slow). The combination of a rather slow EDM tempo, a deep and rich R&B bass, diva vocals (usually) and tickling piano melodies culminated in a tingling, all-night-long dance sensation, intensified by XTC. Although Ecstasy already existed during the sixties and the flower power age, it wasn’t until the coming of music that was hard enough (i.e. House) that it became popular (although cocaine and LSD were also common in early House culture).

In New York, the same story happened but with more elements from Soul & Gospel, called Garage House or US Garage. New York House DJ’s, such as the legendary Larry Levan, mixed more Ambient music with House, which shaped Garage House during its long-lasting evolution. Its roots can be traced back to the late seventies, even long before Chicago House. Garage House is named after the club in New York where it originated: the Paradise Garage.

Although House seemed like a sudden revolution, it really wasn’t. It was just another step in the ongoing evolution of Disco-debauchery, with Italo-Disco and Hi-NRG being the intermediate steps. The main difference with Disco however, was that House was here to stay. Chicago and Garage House never lost their appeal and today they remain floor fillers, because for many the original recipe still tastes the best.
", "songlist": [ "Frankie Knuckles - Your Love", "Larry Heard a.k.a. Mr. Fingers ＂Can You Feel It？＂ ( with lyrics )", "MARSHALL JEFFERSON - MOVE YOUR BODY [The House Music Anthem]", "Farley 'Jackmaster' Funk Love Can't Turn Around", "Jesse Saunders On and On", "STEVE ＂SILK＂ HURLEY - Jack Your Body (Original Mix) 1986", "Esther Williams - I'll Be Your Pleasure (12＂ Larry Levan Mix 1981)", "The 28th Street Crew - I Need A Rhythm", "TC 1991 Berry", "Come to House (Club)" ], "playlistID": "PLb15rbk6I4pOyV8Lm7BG4XgQKAnfPNczl", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOyV8Lm7BG4XgQKAnfPNczl", "spotify-playlist-link": "https://open.spotify.com/playlist/475tZQY68qXZRZfgocCYvZ?si=wVXnnJLqQOCNMTXfxC_Riw", "name_zh": "芝加哥浩室 & 车库浩室" }, "hou02": { "name": "ACID HOUSE
酸性浩室", "year": "1986", "supergenre-first-tag": "HOUSE", "description": "
最初，酸性浩室（Acid House）与其他经典浩室紧密相连。事实上，它不过是芝加哥或车库浩室加上臭名昭著的TB-303贝斯合成器的失真声音。这些早期、孤立的酸性浩室例子被称为Jack Tracks，这也是第一个且最著名的酸性浩室唱片公司（Jack Trax）的名称。通过循环某个音符然后扭曲结果波形（通过截止、共振或包络），创造了具有特征性和迷幻性的酸性声音（acid sound），可用于贝斯线、旋律或合成器刺音。\n\nacid（酸）一词源自第一张酸性浩室唱片：Acid Tracks。这种声音在整个舞曲音乐世界中变得如此受欢迎，以至于酸性浩室很快本身就是一个成熟的流派。1987年，第一批（可负担的）电子采样器出现，在说唱（Rap）和（酸性）浩室世界中被大量使用。酸性浩室开始融入说唱元素（原初Hip House），成为过度活跃和癫痫发作般的采样拼凑。这一刻是Rave文化的开始，在伊比沙岛的第二次爱之夏（Second Summer of Love，同样在1987年）后飙升，并被黄色笑脸标志所永存。代表艺人包括Phuture、DJ Pierre、808 State、A Guy Called Gerald以及S'Express。
Originally, Acid House was strongly tied with other Classic House. In fact it was not much more than Chicago or Garage House with the added distorted sound of the infamous TB-303 bass synthesizer. These early, isolated examples of Acid House were known as “Jack Tracks”, which was also the name for the first and most famous Acid House record label (Jack Trax). By looping a certain note and then distorting the resulting wave (by cutoff, resonance or envelop), the characteristic and psychedelic “acid sound” was created, which could be used for basslines, melodies, or synth stabs. The term acid is derived from the very first Acid House record: Acid Tracks. This sound became so popular in the entire world of Dance music, that Acid House soon was a well-established genre on its own.

In 1987 the first (affordable) electronic samplers arise, which become heavily used in the world of Rap and (Acid) House. Acid House starts to incorporate Rap elements (Proto Hip House) and becomes a hyperactive and epileptic bricolage of samples. This moment is the start of the Rave culture, which skyrocketed after the Second Summer of Love in Ibiza (also in 1987) and became immortalized by the yellow smiley symbol.

But the paramount trademark of Acid House is a severance with House’s Disco influences and the corresponding gay and hipster subcultures. In Acid House, there is no longer a warm groove, no R&B feel, but harsh and distorted sounds onto a loud four-to-the-floor beat. All of the sudden, House becomes something even white British Post-Punk artists can relate to, being rough and revolutionary. Though these evolutions were incidental, the consequences were unimaginable.
", "songlist": [ "Acid Trax (Original 12＂ Club Mix) — Phuture", "This Is Acid (KnT Dance Mix)", "sleezy d - I ve lost control", "Chip E - Time to Jack (1985)", "A Guy Called Gerald - Voodoo Ray (OFFICIAL MUSIC VIDEO)", "D Mob Feat. Gary Haisman - We Call It Acieed! (Full Radio Version)", "Adonis - We' re Rockin Down the House", "Jack To The Sound Of The Underground", "Bomb The Bass - Beat Dis (Video)" ], "playlistID": "PLb15rbk6I4pNafcxU0nIHYSW91Jqgl1Uy", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNafcxU0nIHYSW91Jqgl1Uy", "spotify-playlist-link": "https://open.spotify.com/playlist/4GGpqQ5uEBzDIjQlfz1E3E?si=ucqRLo09QhWT9i0YaiuaiQ", "name_zh": "酸性浩室" }, "hou03": { "name": "HIP HOUSE & EURODANCE
嘻哈浩室 & 欧洲舞曲", "year": "1989", "supergenre-first-tag": "HOUSE", "description": "
经典浩室（Classic House）的欧洲版本融入了说唱（Rap）和高科技舞曲（Techno）元素，创造了一个万能的流派，既极度商业化又流行：欧陆舞曲（Eurodance）。在欧洲，它被简单地称为Dance，后来更被称为九十年代的声音。必须指出，欧陆舞曲更像是一个不同子流派的大型集合，而非一个单一、定义明确的流派。最早的子流派是受浩室影响的说唱歌曲，称为Hip House（一个很好的例子是Young MC的Know How），以及高科技舞曲制作人在浩室世界中的副业项目（如Kevin Saunderson制作的Inner City - Big Fun）。\n\n这些早期的Technodance歌曲与Hip House和受说唱影响的酸性浩室（Acid House）一起演变为刻板印象中的欧陆浩室（Eurohouse），欧陆舞曲的主要代表。几乎所有欧陆浩室都由三个交替部分构成的形式化、可预测结构组成：男性说唱歌词、女性diva副歌和超级朗朗上口的高科技舞曲/浩室合成器旋律。所有这些都在持续泵送且更明显的芝加哥浩室节拍之上。代表艺人包括Snap!、2 Unlimited、Culture Beat、Haddaway以及Ace of Base。
The European version of Classic House incorporated Rap and Techno elements to create a one-size-fits-all genre that was both extremely commercial and popular: Eurodance. In Europe, it was simply called Dance, and later better known as “the sound of the nineties”. It must be noted that Eurodance is rather a large collection of different subgenres than a single well-defined one. The earliest subgenres are House influenced Rap songs known as Hip House (a good example of this is “Young Mc – Know How”) and side-projects of Techno producers within the world of House (such as Kevin Saunderson’s production of “Inner City - Big Fun”). These early “Technodance” songs evolved together with Hip House and Rap-influenced Acid House into the stereotypical Eurohouse, Eurodance’s primary exponent.

Almost all Eurohouse is composed in a formal, predictable structure consisting of three alternating parts: male rap verses, female diva choruses and a super catchy Techno/House synth melody. All of this on top of a continuous pumping and more pronounced Chicago House beat. Later, various offshoots such as Bubblegum Dance, Handbag House, Italo Dance, and Anthem House provided slight variations. But they were rather the evidence of a hype overdone and a sign of the commercial greed of background producers, often feuding about royalties and plagiarism.

But these negative aspects remain merely side notes next to Eurodance’s positive vibe: in the early and mid-nineties, during a period of high prosperity and at the dawn of the new millennium, the hyperactive and euphoric music of Eurodance was the herald of even better things to come for a youth that was already overwhelmed by its messages of freedom, love, and pure bliss.
", "songlist": [ "Cappella - Move on baby", "2 Brothers on the 4th floor - Dreams (Will come alive) 1994", "SNAP! - The Power (Official 4K Music Video)", "Dr. Alban - This Time I'm Free (Official HD Video)", "Haddaway - What Is Love (Official 4K Video)", "GALA - Freed from desire [Official Video]", "La Bouche - Be My Lover (Official Video)", "Corona - The Rhythm of the Night (Official Music Video)", "Mo-Do - Eins Zwei Polizei (Official Video)", "Leila K - Open Sesame (Official Music Video)", "Hey Yoh, Here We Go" ], "playlistID": "PLb15rbk6I4pOqxvhQs-LTrsK9UIiJ6qqS", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOqxvhQs-LTrsK9UIiJ6qqS", "spotify-playlist-link": "https://open.spotify.com/playlist/2VxhKytgDljJMip7ETtNQM?si=5NCzPwVeQMCBSRbYw3IjIQ", "name_zh": "嘻哈浩室 & 欧洲舞曲" }, "hou04": { "name": "DEEP HOUSE
深度浩室", "year": "1993", "supergenre-first-tag": "HOUSE", "description": "
浩室家族谱系中一个强大且不可战胜的家族是深浩室（Deep House），它是欧陆舞曲（Eurodance）的某种对立平衡。深浩室通过回归浩室的主要根源——费城灵魂乐（Philly Soul）——拥有无尽的吸引力。融合乐器（哈蒙德风琴、电钢琴）赋予深浩室一种放克、温暖的声音，而费城灵魂乐和车库浩室（Garage House）的编排提供了稳定的舞蹈节奏。这就是为什么深浩室有时被称为爵士浩室（Jazz House）。\n\n深浩室最典型的特征是完全没有高潮和经典歌曲结构；音乐是律动浩室节拍的一长段混音。在深浩室之后，密切相关的流派放克浩室（Funky House）出现了；一种更放克而非灵魂乐导向的变体。深浩室形成了极化浩室宇宙的对立极：氛围和深情对硬性和尖锐，这使双方都成为要么爱要么恨的风格。深浩室的平均速度略慢于芝加哥浩室（120bpm），经常以降调或降采样声音为特征，听起来像是在水下听到的。因此，深浩室将听众沉浸在深情浩室的律动波浪中。代表艺人包括Larry Heard（Mr. Fingers）、Kerri Chandler、Moodymann、Maya Jane Coles以及Miguel Migs。
A strong and undefeated house within the family line of House is Deep House, the somewhat opposite counterweight for Eurodance. Deep House has an endless appeal by going back to the primary Roots of House: Philly Soul. Fusion instruments (Hammond organs, electric pianos) give Deep House a funky, warm sound, while Philly Soul and Garage House arrangements provide a steady dance rhythm. That’s why Deep House is sometimes referred to as Jazz House. The most typical characteristic of Deep House is a total absence of climax and classic song structure; the music is one long mix of groovy House beats. After Deep House, the closely related genre Funky House emerged; a more Funk than Soul oriented variant. Deep House forms the opposing pole of a polarized House universe: ambient and soulful versus hard and sharp, which has turned both sides into love-it-or-hate-it styles. Deep House's average tempo is slightly slower than Chicago’s (120bpm) and often features downtuned or downsampled sounds, which sound like they are heard underwater. As such, Deep House submerges the listener in the groovy waves of soulful House. It is not there to blast relentlessly impulses into the brain; it is there to party all night long without excesses.
", "songlist": [ "Eddie Amador - House Music (Original mix) HQ 320!", "I Can't Kick This Feeling When It Hits", "Fish Go Deep - Deep, Like", "Blue Six - Close to Home", "Move D - Jus House", "Booka Shade vs MANDY - body language", "Leon Vynehall - It's Just (House of Dupree)", "Jaydee-Plastic Dreams HQ (Original Long Version)" ], "playlistID": "PLb15rbk6I4pNFVFzbUfOhCQi2_r7yP2dV", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNFVFzbUfOhCQi2_r7yP2dV", "spotify-playlist-link": "https://open.spotify.com/playlist/17lhW4B7E4DyavsSDGCL4Z?si=tQkLQwUARKuVOQ3XmGnvBw", "name_zh": "深度浩室" }, "hou05": { "name": "NRG, HARD NRG & (UK) HARD HOUSE
能量浩室 / 硬能量 & 英伦硬浩室", "year": "1996", "supergenre-first-tag": "HOUSE", "supergenre-second-tag": [ "master", "TRANCE" ], "description": "
一个更快、更驱动、更狂喜的欧陆舞曲（Eurodance）版本于1995年出现在舞曲舞台上，并在同性恋圈子中被证明非常流行。NRG意为能量（energy），极其贴切：这是舞曲的Go-Go。一个高度重复的驱动性动机——像有了一丝旋律的高科技舞曲（Techno）——不断继续，驱使（同性恋）人群疯狂。因此，Nu-NRG——九十年代的Hi-NRG版本——诞生了。换言之：（Nu-）NRG是迪斯科强化巨大演变中的第四次转变（Disco→Hi-NRG=Eurodisco→House→Eurohouse→NRG=Nu-NRG）。但这甚至不是最终阶段。\n\n逐渐地，NRG变成Hard NRG，严重修改的波形旋律（通常是酸性）以及hoover和其他Rave声音参与音乐。从天真和充满活力，NRG变得黑暗和脉冲，如同流派中的类星体。Hard NRG连接了浩室世界和迷幻舞曲（Trance）世界，作为其他流派的十字路口。它帮助浩室制作人熟悉了Trance，但在九十年代末，Hard NRG从Trance中迈出一步，进入迪斯科强化的最后和最遥远阶段：（英国）硬浩室（UK Hard House）。代表艺人包括Tony De Vit、BK、Andy Farley、Lisa Lashes以及Rachel Auburn。
A faster, more driven and more ecstatic version of Eurodance appeared on the Dance stage in 1995, and proved highly popular within gay circles. NRG means energy, and most suitably so: this is the “Go-Go of Dance”. A highly repetitive driven motif - like Techno with a bit of melody - goes on and on, driving the (gay) crowd bonkers. Hence Nu-NRG, the Hi-NRG version of the nineties, was born. In other words: (Nu-)NRG is the forth transmutation in a tremendous evolution of Disco-intensification (Disco → Hi-NRG = Eurodisco → House → Eurohouse → NRG = Nu-NRG). But this was not even the final stage.

Gradually, NRG becomes Hard NRG and heavily modified wave form melodies (often acid) and the use of hoover and other Rave sounds participate in the music. From innocent and energetic, NRG becomes dark and pulsing, like a quasar among genres. Hard NRG connects the world of House with that of Trance, as a crossroad for other genres. It helped House producers get acquainted with Trance, but in the late nineties, Hard NRG takes a step away from Trance into the final and most distant stage of Disco-intensification: (UK) Hard House.

Hard House is the ultimate bumper car music; the soundtrack of the fairground: flashing, pounding, building up and breaking loose. Hard House aka Retro House aka Stupid House aka Party House is characterized by hard bass stabs, silly samples, hoovers, and a fast tempo of 150bpm. Breakdowns are intensified, either by silence or drum rolls, and prelude harsh climaxes. Because the American Press uses Hard House as an umbrella label for any type of Hard Dance, the specific term “UK Hard House” is being reserved for this genre (a poor choice, considering the fact that Hard House is even more popular in Germany, the Netherlands, and Belgium)
", "songlist": [ "JX - Son of a Gun", "X-Cabs - Neuro", "FELIX - Don't You Want Me (1992).", "Blu Peter - Magic (Original Mix) 1995", "Embargo! - Embargo!", "Steve Thomas - Higher", "Robert Armani - Hit Hard", "Klubbheads - Hiphopping (Official Video)", "Dj Jean - The Launch (Official Video)", "Porn kings - Up To No Good" ], "playlistID": "PLb15rbk6I4pMkbCgpJLmx4ThU1Dx8H-Py", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMkbCgpJLmx4ThU1Dx8H-Py", "spotify-playlist-link": "https://open.spotify.com/playlist/3Z1uS3Brz9yxJdEuGF10Gl?si=ypoirR5xTF27E6ziuRRqDQ", "name_zh": "能量浩室 / 硬能量 & 英伦硬浩室" }, "hou06": { "name": "FRENCH HOUSE & FUNKY HOUSE
法式浩室 & 放克浩室", "year": "1998", "supergenre-first-tag": "HOUSE", "description": "
法国浩室（French House）与其兄弟放克浩室（Funk House）流派——深浩室（Deep House）和放克浩室（Funky House）——几乎同时在八十年代末开始。然而，直到九十年代末，许多法国浩室制作人才在国际上突破。比深浩室少得多氛围和深情，法国浩室更被P-Funk的未来主义愿景所吸引。但更重要的是欧陆迪斯科（Eurodisco），由于地区子流派太空迪斯科（Space-Disco），它在法国对舞曲音乐产生了持久的影响。\n\n自从欧陆迪斯科到达法国（约1987年），法国浩室的积累已经可以感知，但对国外的人来说，这种音乐感觉像是革命性的。这意味着太空感合成器流行声音、高度舞蹈性的本质，以及电子效果（如机器人滤波器和移相器旋律；法国浩室的标志）。法国浩室在歌曲名称或艺术中大量引用科幻和太空。放克浩室和法国浩室共享大量重叠。大约在2000年，放克浩室变得更加流行，但两者仍然受到许多人的喜爱。法国浩室是流行音乐不断回归自身历史的另一个例子，用过去塑造未来。代表艺人包括Daft Punk、Cassius、Modjo、Stardust以及Alan Braxe。
French House started almost simultaneously with its sibling Funk House genres, Deep and Funky House, in the late eighties. It wasn’t until the late nineties though, that many French House producers broke through internationally. Being much less ambient and soulful than Deep House, French House was more attracted to the futuristic visions of P-Funk. But more important was Eurodisco, which had a lasting impact in France on Dance music thanks to the regional subgenre Space-Disco. Ever since Eurodisco arrived in France (around 1987), the build-up to French House was already tangible, but to people abroad the music felt revolutionary. This means spacey Synthpop sounds, a highly danceable nature, and “Electro” effects (such as robotic filter and phaser melodies; the trademark of French House). French House uses many references in song names or artwork to science-fiction and space. Funky House and French House share a great deal of overlapping. Around 2000, Funky House becomes more popular but both remain well liked among many. French House is another example of popular music’s continuous return to its own history, using the past to shape the future.
", "songlist": [ "Daft Punk - Technologic (Official Music Video Remastered)", "Cassius - Cassius 1999 (Radio Edit) [Official Audio]", "Etienne de Crecy & Alex Gopher - Overnet", "Armand Van Helden - Into Your Eyes", "Laurent Garnier - The Man With The Red Face (Official Video by Siraj Javheri - F Communications)", "Mr Oizo - Flat beat (Official Video with Flat Eric - 1999 - F Communications)", "Stardust - Music Sounds Better With You (Official Music Video)", "Rain Down Love (feat. Siedah Garrett)", "Basement Jaxx - Where's Your Head At (Official Video)", "StoneBridge ft Therese- Put 'Em High (2004)", "Mousse T. feat. Hot 'n' Juicy - Horny '98" ], "playlistID": "PLb15rbk6I4pPdeIpFBxMke6EreiqP3GG2", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPdeIpFBxMke6EreiqP3GG2", "spotify-playlist-link": "https://open.spotify.com/playlist/5MlE496deouoYZfDiybKRu?si=R_odEfDSTgurrYZLRbOJiw", "name_zh": "法式浩室 & 放克浩室" }, "hou07": { "name": "MICROHOUSE / MINIMAL HOUSE
微型浩室 / 极简浩室", "year": "2000", "supergenre-first-tag": "HOUSE", "description": "
极简浩室（Minimal House）和微浩室（Microhouse，相同但更极端）与极简高科技舞曲（Minimal Techno）不同，它们不是最小化声音的数量（即层数），而是最小化声音的质量。任何事物都不能太分散注意力或太明显。因此，旋律或律动贝斯线几乎不存在。声音通常被压缩，极端低频或高频被切断。实验性的极简声音（哔声、切割声）更可能是音乐的核心，而不是氛围声音效果。结果是一个奇怪且极其重复的软性浩室节奏在软性节拍之上。\n\n有时似乎唱片卡住了或音乐尚未真正开始。这绝对是实验性音乐，需要某种心理方法才能欣赏。毕竟，极简浩室受到Glitch的巨大影响。这一流派起源于柏林，但之后阿姆斯特丹成为中心。正如极简高科技舞曲形成了对第二波Rave的强烈反弹，极简浩室实际上也是对第三波Rave——硬迷幻舞曲（Hardtrance）——的反弹。以相当低的速度并专注于微妙的drop和声音，它显然是电锯轰鸣的硬迷幻舞曲的逆反。代表艺人包括Ricardo Villalobos、Akufen、Luomo、Jan Jelinek以及Isolée。
Minimal House and Microhouse (the same but more extreme) are different from Minimal Techno in that they don’t minimize the quantity of the sound (i.e. the number of layers) but rather the quality of the sound. Nothing may be too distracting or too explicit. Therefore melody or groovy basslines are almost non-existent. Sounds are often compressed, extreme low or high frequencies cut off. Experimental minimalistic sounds (blips, cuts) are more likely the core of the music instead of ambient sound effects. The result is a weird and extremely repetitive soft House rhythm on top of a soft beat. Sometimes it seems like the record has been stuck or the music hasn’t really begun yet. It’s definitely experimental music that requires a certain mental approach to adore. Minimal House has a large influence from Glitch, after all. The genre originated in Berlin, but afterwards Amsterdam becomes the epicenter. Just like Minimal Techno formed a strong backlash against the second wave of Rave, so is Minimal House actually a backlash against the third wave of Rave: Hardtrance. With a fairly low tempo and a focus on subtle drops and sounds, it is clearly the inverse of chainsaw-booming Hardtrance.
", "songlist": [ "Akufen - Architextures 1", "Ricardo Villalobos - Dexter", "Tessio", "Farben - Swinn Off", "Matthew Dear- Deserter", "D.Diggler - Signals", "Benjamin Wild - Anschlusstreffer", "Isolée - Floripa (PAMPA026)", "John Tejada - The End Of It All", "Mosca - Clinical Trial" ], "playlistID": "PLb15rbk6I4pNV1lcE7StUWei3hJQPFFIG", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNV1lcE7StUWei3hJQPFFIG", "spotify-playlist-link": "https://open.spotify.com/playlist/6QGvXgf2Su7hw7zUdAi7rX?si=yGfbIIR9SaGKMrIRgMgoDQ", "name_zh": "微型浩室 / 极简浩室" }, "hou08": { "name": "GHETTO HOUSE, GHETTOTECH & JUKE
贫民窟浩室 / 贫民窟科技 & 朱克", "year": "2005", "supergenre-first-tag": "HOUSE", "supergenre-second-tag": [ "master", "TECHNO" ], "description": "
一个不太知名的浩室（House）亚文化自1992年以来一直存在，但在世纪之交才开始蓬勃发展，那就是贫民区浩室（Ghetto/Booty House）。在芝加哥，经典浩室场景开始与南方说唱（South Rap）/迈阿密贝斯（Miami/Booty Bass）场景混合。这主要发生在城镇西南部，那里是热爱说唱和电子乐（Electro）的较贫穷的贫民区社区。这种融合的最终结果是形状适应其环境的音乐：肮脏、粗粝、未经打磨的浩室；极简但带有少量电子声音效果。该流派以说唱歌词为特征也不罕见。\n\n降调的人声，通常以呼唤与回应的方式，使贫民区浩室或G-House成为一种干透的流派。此后不久，底特律高科技舞曲（Detroit Techno）接受了类似的肮脏改造，创造了Ghettotech，受到迈阿密贝斯更强的影晌。而在很久以后（约2010年），流行的子流派（芝加哥）Juke表明这一场景远未消亡。Juke是贫民区浩室的进一步发展，具有切分打击乐和更快的速度。这甚至导致了其独特的快速舞蹈：Footwork。代表艺人包括DJ Funk、DJ Deeon、DJ Rashad、DJ Slugo以及RP Boo。
A lesser known House subculture that has been around since 1992 but only started blossoming at the turn of the century, is Ghetto or Booty House. In Chicago, the Classic House scene started mixing with the South Rap/Miami/Booty Bass scene. This happened primarily in the southwestern parts of town, home to a poorer Rap and Electro loving ghetto community. The end result of this fusion was music shaped to its environment: a dirty, gritty, unpolished House; minimalistic but with a small handful of Electro sound effects. It’s not uncommon for the genre to feature Rap lyrics as well. Pitched down vocals, often in call-and-response manner, make Ghetto House or G-House a “bone-dry” genre.

Soon afterwards, Detroit Techno received a similar “dirty overhaul” to create Ghettotech, with a stronger influence from Miami Bass. And much later (around 2010) the popular subgenre (Chicago) Juke shows that the scene is far from dead. Juke is a further development of Ghetto House with syncopated percussion and a much faster tempo. This even leads to its own unique, fast dance: Footwork.

Because these genres form a bridge between House/Techno and Rap, it’s not surprising that Ghetto House starts to influence new Rap genres, and thus turns Trap into Drill.
", "songlist": [ "Amine Edge & DANCE - Halfway Crooks (Original Mix) [CUFF] Official", "Destructo ｜ ＂Party Up＂ feat. YG (Audio) ｜ Interscope", "DJ Deeon - Let Me Bang (Original)", "Shiba San - OKAY", "Pump That Shit Up", "DJ Godfather-Player Haters in Dis House", "U Need Another Drink", "DJ ASSAULT - Raccoon", "hold up wait a minute", "DJ Rashad - Drop Juke Out" ], "playlistID": "PLb15rbk6I4pOxIfIqVIlJ9glbsAqIF55d", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOxIfIqVIlJ9glbsAqIF55d", "spotify-playlist-link": "https://open.spotify.com/playlist/3YrT5qO7mes7iMkEtYcK3X?si=e3YX4K7QQVCcYVt1-Sjr-w", "name_zh": "贫民窟浩室 / 贫民窟科技 & 朱克" }, "hou09": { "name": "ELECTRO HOUSE & DUTCH HOUSE
电子浩室 & 荷兰浩室", "year": "2006", "supergenre-first-tag": "HOUSE", "description": "
在新千年的前半段，浩室（House）几乎在生命维持状态。迷幻舞曲（Trance）的全球征服以及摇滚重新夺回主导流行音乐流派的地位，将其驱逐到阴影中。然而，在最黑暗的时代，浩室通过重新定义自身扭转了局面。它变成了更常（尽管错误地）被称为Electro的东西，通过将电撞（Electroclash）与科技浩室（Tech House）融合，并摆脱其特有的温暖、基于R&B的律动。\n\n确实，电子浩室（Electro House）相比之下是刺耳和冷酷的，由于肮脏、失真但基本的锯齿波合成器旋律和对不连贯高潮的大量关注。所述高潮由一个沉重的贝斯线组成，通过用一小段沉默推迟来强化。这被称为drop——一种音乐技术，被转移到许多其他类型的音乐中，尤其是Trapstep和Post-Dubstep。电子浩室也以最少使用打击乐和平均130bpm的速度为特征。然而，电子浩室也可以作为一个总括术语，用于所有直接受其影响的浩室流派。代表艺人包括Deadmau5、David Guetta、Benny Benassi、Feed Me以及Skrillex（早期）。
In the first half of the new millennium, House was almost on life-support. The global conquest of Trance and Rock’s reclaim as the dominant popular music genre banished it into the shadows. Yet in the darkest of times, House turned the tables by redrafting its own definition. It became what is more commonly (though wrongfully) known as “Electro”, by merging Electroclash with Tech House and shaking off its characteristic warm, R&B based groove. Indeed, Electro House is harsh and cold in comparison, due to dirty, distorted but basic sawtooth synth melodies and a large focus on an incoherent climax. Said climax consists of a heavy bassline, that is intensified by postponing with a tiny bit of silence. This is known as a “drop”, a musical technique which got transferred in many other types of music, especially Trapstep and Post-Dubstep. Electro House is also defined by minimal use of percussion and an average tempo of 130 bpm.

However, Electro House can be used as an umbrella term as well for all House genres that are directly influenced by it. The biggest and most deviant (Moombahton and Glitch House) are mentioned separately on the Carta. Three other and more similar to early Electro House are included here. The first one, Dutch House, is closely related and rather a second wave of Electro House as both genres originated in the Netherlands. Starting in 2008, Dutch House aka “Dirty Dutch” or “Bleephouse” has high pitched synths, bleeping sounds, intricate percussion, and less focus on bass.

Around 2010, another Electro House subgenre arrives: Big Room (House). As one of the most despised genres by music connoisseurs, Big Room seldom finds it way into genealogies. With its predictable maximum-gravity drops and over-the-top bombastic Electro House anthems, critics define this style as extremely shallow, monotonous and commercial. The immense popularity of typical Big Room festivals or parties proves that the genre – clearly love-it-or-hate-it – cannot be shuffled away.

And finally we have Melbourne Bounce: a niche-genre of Electro House with acid and Jumpstyle influences. All these genres (Electro House XL) belong to a family of Dance music catered to the masses that in more recent terms (regrettably) has been dubbed “EDM”.
", "songlist": [ "Fedde Le Grand - Put Your Hands Up For Detroit (Official Video)", "Benny Benassi - Satisfaction", "Swedish House Mafia - One (Your Name) (Official Video)", "Laidback Luke & Goodgrip - Rocking With the Best (Laidback Luke 2K15 Mix)", "Don Diablo - On My Mind (Official Music Video)", "Sidney Samson - Riverside (Official Music Video)", "Vato Gonzalez - Push Riddim (Official Music Video)", "Afrojack - Unstoppable (Official Video)", "Chuckie - Let The Bass Kick" ], "playlistID": "PLb15rbk6I4pN3185LRmA3ih7DqnIzc5kz", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pN3185LRmA3ih7DqnIzc5kz", "spotify-playlist-link": "https://open.spotify.com/playlist/0ES5obUCv0YsKIODLOdNbk?si=uBSqKz0hRESfqclrXB9JUw", "name_zh": "电子浩室 & 荷兰浩室" }, "hou10": { "name": "FIDGET HOUSE & COMPLEXTRO
烦躁浩室 & 复杂电子", "year": "2007", "supergenre-first-tag": "HOUSE", "description": "
电子浩室（Electro House）倾向于尖锐、glitchy和fidgety的声音。这一倾向被不太知名的Glitch House流派进一步延伸：Fidget和Complextro。Fidget（House）融入了UK Garage元素来创建glitchy节拍和Rave元素用于合成器刺音，而切割（chopped）人声则从浩室（House）中汲取灵感。Fidget House非常短暂且相当晦涩，最初是一个小实验（实际上是个笑话），但它获得了比预期更多的流行度。\n\n2010年后，Fidget House与后Dubstep（Post-Dubstep）融合，成为一种更复杂的音乐流派，平均速度130bpm：Complextro。Complextro（意为complex Electro House，复杂电子浩室）使用包含多种合成器与各种采样混合的drop，但总是glitchy且短促。不仅是采样，摇晃的贝斯线也是尖锐和切割的。所有这些元素赋予Complextro一种躁动不安的感觉，一种过度活跃感，类似于Fidget House但更粗糙和糟糕。代表艺人包括Crookers（Fidget）、The Bloody Beetroots（Fidget）、Porter Robinson（Complextro早期）、Madeon以及Zedd（早期）。
Electro House has a tendency towards snappy, glitchy, and fidgety sounds. A tendency that gets stretched further by the lesser known “Glitch House” genres: Fidget and Complextro. Fidget (House) Incorporates UK Garage elements to create glitchy beats and Rave elements for synths stabs, while chopped vocals take their cue from House. Fidget House was very shortlived and rather obscure, starting as a small experiment (actually a joke), but it gained more popularity than expected.

After 2010, Fidget House fuses with Post-Dubstep into a more “complex” music genre with an average tempo of 130 bpm: Complextro. Complextro (meaning: complex Electro (House)) uses drops which feature multiple synths mixed with various samples, but always glitchy and short. Not only the samples, but also the wobbly basslines are snappy and cutting. All these elements give Complextro a restless feeling, a sense of hyperactivity, similar to Fidget House but rougher and worse.
", "songlist": [ "Kid Cudi - Day 'N' Nite (Crookers Remix)", "Hervé - Together", "Jack Beats - Get Down (Original Mix) [HQ]", "Fake Blood - Mars (Original Mix)", "AC Slater - U Got 2 (Official Music Video)", "Mord Fustang - Elite Beat Agent", "Huoratron - $$ Troopers", "Wolfgang Gartner - Undertaker", "[Electro House] Virtual Riot - Energy Drink" ], "playlistID": "PLb15rbk6I4pPc7ZHbFLNztQTlRs0AdQIi", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPc7ZHbFLNztQTlRs0AdQIi", "spotify-playlist-link": "https://open.spotify.com/playlist/3WlpOCzmmGlNzfYQqQUUmf?si=5AMYRHUXQ5Kmr83A22vGrQ", "name_zh": "烦躁浩室 & 复杂电子" }, "hou11": { "name": "MOOMBAHTON
蒙巴顿", "year": "2010", "supergenre-first-tag": "HOUSE", "description": "
在音乐流派饱和的时代，新流派通常由两个遥远、独特流派的意外融合而发明。Moombahton就是这样一个例子：（荷兰）电子浩室（Electro House）遇上Reggaetón。因此，Moombahton实际上是一种浩室音乐形式，但被放慢并充满了Reggaetón的声音和节奏，直到几乎认不出是浩室。Moombah这个名字来自第一首构思的曲目。Moombahton是切分的、重节拍的俱乐部音乐，带有自然的夏日感觉。\n\n尽管速度在EDM世界中惊人地低（100-110BPM），当Moombahton出现时派对并不会放慢。Moombahton因结合重型drop、hook和节拍与尖锐合成器而受到喜爱，就像你在Trapstep、Dubstep和Dutch House中找到的一样，但不会把自己当回事。它是当代舞曲的搞笑伙伴。歌曲通常很短，表明它们主要用于快速品尝drop和主要合成器旋律，之后另一首Moombahton曲目被释放。Moombahton的浩室/碎拍/牙买加熔炉经常跨界到Dubstep/Drum'n'Bass，创建子流派Moombahcore，特别是到Trapstep，创建Trapahton。代表艺人包括Dave Nada、Dillon Francis、Diplo（部分）、Knife Party（部分）以及Major Lazer。
In a time of music genre saturation, new genres are often invented by the unexpected fusion of two remote, distinctive genres. Moombahton is such an example: (Dutch) Electro House meets Reggaetón. Thus Moombahton is actually a form of House music, but slowed down and filled with Reggaetón sounds and rhythms, until it is barely recognizable as such. The name “Moombah” comes from the first conceived track. Moombahton is syncopated beat-heavy club music, with a natural summer feeling. Although the tempo is incredibly low in the world of EDM (100-110BPM), the party doesn’t slow down when Moombahton is around. Moombahton is loved for combining heavy drops, hooks and beats with shrill synths just like you find in Trapstep, Dubstep and Dutch House, but without taking itself seriously. It’s the funny sidekick of contemporary Dance. Songs are often very short, indicating that they are mostly used for a quick taste of the drop and main synth melody, after which another Moombahton track is unleashed. Moombahton’s House/Breakbeat/Jamaican melting pot often crosses over into Dubstep/Drum’n’Bass, creating the subgenre Moombahcore, but particulary into Trapstep, creating Trapahton. These subgenres are good examples of how Trapstep, Post-Dubstep, Electro House and Moombahton (the “heavy drop”-genres) have become so intertwined after 2013-14 that there is actually very few music that belongs strictly to one genre; the majority falls in between.
", "songlist": [ "Dave Nada - Moombahton", "Major Lazer - Light It Up (feat. Nyla & Fuse ODG) (Remix) (Official Music Video)", "Diplo & GTA - ＂Boy Oh Boy＂ (Official Video)", "Ape Drums - Bashment", "Dillon Francis, Skrillex - Bun Up the Dance (Video)", "Tropkillaz - Que Passa Amigo", "Munchi - La Brasileña Ta Montao", "Torro Torro & Long Jawns - The Pump (Original)", "ETC!ETC!： Temblando", "Jesse Slayter - Thick (SNACKS.040 ⧸⧸ Main Course)", "MACKLEMORE & RYAN LEWIS - DANCE OFF (FEAT. IDRIS ELBA) OFFICIAL MUSIC VIDEO" ], "playlistID": "PLb15rbk6I4pPKFdt1wdoH-0fEwd1oQ5w_", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPKFdt1wdoH-0fEwd1oQ5w_", "spotify-playlist-link": "https://open.spotify.com/playlist/07hjdKL0CCw4pXDeod1hxq?si=qK7oyYOgS4W2Z-iirtTRAg", "name_zh": "蒙巴顿" }, "hou12": { "name": "PROGRESSIVE HOUSE
前卫浩室", "year": "1994", "supergenre-first-tag": "HOUSE", "description": "
渐进浩室（Progressive House）是从较小的子流派部落浩室（Tribal House）演变而来的——部落浩室是打击乐最重的浩室类型，以突出的节拍和异国情调的乐器为特征。此后，第一波于1992年到来：长而略带迷幻的曲目，也有大量超节奏打击乐，主要基于英国。高度令人困惑的是，这种新流派有时在当时被称为Trance，因为Trance尚未确立自己作为超级流派的地位，并且（由于强调重复节奏）也（很久以后）被误认为Techno。\n\n值得注意的是，渐进浩室有一个后门进入新浪潮（New Wave）/后朋克（Post-Punk）/Madchester领域，这得益于英国对酸性浩室（Acid House）的认可，这激发了具有摇滚背景的乐队如Leftfield或Underworld转换阵营，创作纯粹的舞曲音乐。第二波渐进浩室在1996-1997年左右站稳脚跟。打击乐和贝斯变得更重，但不更复杂。动态范围也被调低，所有声音频率靠得更近。歌曲变得甚至更长，更常是相对不知名DJ的作品，而非面向专辑的乐队，旨在用于长的、渐进式的DJ set。代表艺人包括Sasha & John Digweed、Hernán Cattáneo、Eric Prydz以及Above & Beyond（早期）。
Progressive House evolved out of the smaller subgenre Tribal House, the most percussion-heavy type of House with prominent beats and exotic instrumentation. Hereafter, the first wave arrives in 1992: long, slightly psychedelic tracks also with lots of hyper-rhythmic percussion and primarily UK based. Highly confusing, this new genre was sometimes called “Trance” at the time, as Trance hadn’t established itself as a super-genre yet, and (because of the emphasis on a repetitive rhythm) also (much later) mistaken for Techno. Remarkably, Progressive House had a backdoor entrance into the realm of New Wave / Post-Punk / Madchester, thanks to the British approval of Acid House, which inspired bands with a Rock background like Leftfield or Underworld to switch sides and create pure Dance music.

The second wave of Progressive House takes hold around 1996-1997. Percussion and bass becomes heavier, but not more complex. Dynamic range also gets toned down, with all the sound frequencies lying closer together. Songs become even longer and are more often the work of relatively unknown DJ’s instead of album-oriented bands, aimed at long, progressing DJ-sets. This second wave was mainly the reaction on another House subgenre: Handbag House, which is a soft, female oriented, lightweight type of Eurodance in the mid nineties. Clearly the opposite in sound, Progressive House tries to please its target audience of white, adolescent, straight males with its never-ending easy-to-mix pumping sound. And it worked due to a certain notion of sophistication and technology, though its name discloses rather an air of condescension.
", "songlist": [ "Underworld - Rez", "Leftfield - Afro Left", "The Aloof - Bittersweet", "Bedrock Feat. KYO - For What You Dream Of", "Don't Panic", "Austin Leeds - Force 51", "Cass - Emotion Surfer (Original Mix)", "Rhythm Reigns - Fuel (Original Mix)", "Poseidon - Supertransonic (Timo Maas Mix) ｜Hope Recordings｜ 2000", "Mara - Desanitize (Fakkindaddydub) [2000]" ], "playlistID": "PLb15rbk6I4pMdtF0pTSfSaoRdhzR3i_Kq", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMdtF0pTSfSaoRdhzR3i_Kq", "spotify-playlist-link": "https://open.spotify.com/playlist/6NcRVXrNMCxXID1isy0vds?si=D64nUOD9TQ2UsZok7ZVxqg", "name_zh": "前卫浩室" }, "tra01": { "name": "CLASSIC TRANCE & ACID TRANCE
经典迷幻舞曲 & 酸性迷幻", "year": "1990", "supergenre-first-tag": "TRANCE", "description": "
在八十年代末和九十年代初伟大电子舞曲风暴的中心，浩室（House）音乐开始呈现许多形式。由于高科技舞曲（Techno）和氛围音乐（Ambient）都对欧陆舞曲（Eurodance）产生了影响，一股（大多是临时的）子流派旋风困惑了许多音乐爱好者：Dream House、Handbag House、NRG、Anthem/Stadium House、Diva House、Ibiza House等。正是在这种风格激增中，迷幻舞曲（Trance）最早的演变也可以被找到。\n\n像浩室和高科技舞曲一样，Trance具有强劲的四拍地板底鼓节拍和类似的贝斯线，但与两者不同，合成器旋律绝对主导音乐的任何其他部分。通常有不止一条旋律，与合成器贝斯线强烈交织，从而创建分层结构。为了促进音乐的催眠、入迷效果，节拍和节奏高度重复，变化尽可能少。最早的Trance形式始于德国，浩室/Techno DJ创造了最平坦、最纯粹的Trance风格。特别是法兰克福和柏林是条顿（Teutonic/German）Trance即经典Trance（Classic Trance）的重要港湾。酸性Trance（Acid Trance）形成了酸性浩室与经典Trance之间的链接。代表艺人包括Sven Väth、Cosmic Baby、Jam & Spoon、Dance 2 Trance以及Paul van Dyk（早期）。
In the centre of the great electronic dance storm of the late eighties and early nineties, House music started to take on many forms. As both Techno and Ambient music had their influence on Eurodance, a whirlwind of (mostly temporary) subgenres confused many music enthusiasts: Dream House, Handbag House, NRG, Anthem/Stadium House, Diva House, Ibiza House, etc. It is within this surge of styles that the earliest evolutions of Trance can also be found. Like House and Techno, Trance features a strong four-to-the-floor kick beat and a similar bassline but unlike both of them, synthesizer melodies absolutely dominate any other part of the music. Usually there is more than one melody, strongly intertwined with the synth bassline, hereby creating a layered structure. To facilitate the hypnotic, entrancing effect of the music, the beat and rhythm are highly repetitive, with as little variation as possible. The earliest forms of Trance started in Germany, where House/Techno DJ’s created the plainest, purest Trance style. Particularly Frankfurt and Berlin were important havens of “Teutonic” (=German) Trance aka Classic Trance.

Acid Trance forms the link between Acid House and Classic Trance; thus it forms the earliest type of Trance, but acid sounds occur everywhere within Trance and a separation of these genres is pointless. Classic Trance is a highly varied genre and difficult to outline compared to later Trance genres, but its identity lies in sheer simplicity, serenity and harmony: Classic Trance searches for an enlightened state of consciousness without forcing itself onto the listener.
", "songlist": [ "The Age Of Love - The Age Of Love", "Cosmic Baby - The Space Track", "ATB - 9PM (Till I Come) - HQ", "Stella (Original Version) - Jam and Spoon", "Dance 2 Trance - Power Of American Natives '98", "Throm 03", "Electric Skychurch - ＂Deus＂", "Hardfloor - Acperience 1 (Official Videoedit)", "Art Of Trance - Kaleidoscope" ], "playlistID": "PLb15rbk6I4pPeL342AtJBXWTT7-K_GwML", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPeL342AtJBXWTT7-K_GwML", "spotify-playlist-link": "https://open.spotify.com/playlist/4bZwQk0XlXQj6amMmWPpPv?si=hBi72twKS2qIUY02kU2SGw", "name_zh": "经典迷幻舞曲 & 酸性迷幻" }, "tra03": { "name": "IBIZA HOUSE / TRANCE & DREAM HOUSE / TRANCE
伊比萨浩室/迷幻 & 梦境浩室/迷幻", "year": "1993", "supergenre-first-tag": "TRANCE", "supergenre-second-tag": [ "master", "HOUSE" ], "description": "
在温暖而郁郁葱葱的巴利阿里群岛（Balearic Islands），主要是伊比沙岛（Ibiza），许多DJ找到了理想的派对天堂，远离肮脏的城市和压迫的政府。但伊比沙岛在九十年代不是为了派对而变得流行——该岛是成千上万疲惫Ravers的避难所，厌倦了失控的音乐场景和过多的药物滥用。伴随着同性恋者、艺术家和社会边缘人移居到这个庇护所，这些Ravers寻求一种音乐疗愈来应对后Rave症状和戒断反应，理想情况下是软性浩室（Eurodance）和Trance的缓拍融合。\n\n一个结果是适合海滨环境的氛围流派。一点也不沉重，而是一个梦幻般的音景，带有自然声音或温柔钢琴旋律混在连续的Trance贝斯和节拍上：梦幻浩室/Trance（Dream House/Trance）。值得注意的是，Dream Trance被构想为应对Rave后车祸惊人上升的手段，以130 bpm的慢速度和使用弦乐来保持司机冷静和专注。另一个结果是类似的但稍微更有活力，旋律不那么复杂，添加了人声，像一个氛围版的Eurodance：巴利阿里浩室/Trance（Balearic House/Trance）或伊比沙浩室/Trance（Ibiza House/Trance）。代表艺人包括Robert Miles（Dream Trance）、Chicane、Energy 52、Solarstone以及Binary Finary。
On the warm and lush Balearic Islands, mainly Ibiza, lots of DJ’s found an ideal party heaven, far away from dirty cities and oppressing governments. But Ibiza did not become popular in the nineties to party – the island was a refuge for thousands and thousands of worn-out ravers, tired of a music scene spun out of control and too much drug abuse. Alongside the migration of gays, artists and social outcasts to this asylum, these ravers sought a musical healing treatment for after-Rave symptoms and withdrawals, which would ideally be a downtempo fusion of soft House (Eurodance) and Trance.

One result was an atmospheric genre fitting for the seaside environment. Not heavy at all, but a dreamlike soundscape with nature sounds or gentle piano melodies mixed onto a continuous Trance bass and beat: Dream House/Trance. Remarkably, Dream Trance was conceived as a means to counter the alarming rise of car accidents after raves, with a slow tempo of 130 bpm and the use of strings to keep the driver calm and focused.

Another result was similar but slightly more energetic, with less complex melodies and added vocals, like an ambient version of Eurodance: Balearic House/Trance or Ibiza House/Trance. Balearic Trance builds further on the local genre of the eighties: Balearic Beat: a summer-infused, ambient type of Eurodisco. Sometimes exotic samples such as Spanish guitars or bandoneons are added, which makes Ibiza even more a sanctuary to forget all troubles - a concept to which the famous Amnesia club owed its name.
", "songlist": [ "Robert Miles - Children [Dream Version]", "BBE - 7 days and one week - Official Video (HQ)", "Zhi-Vago - Celebrate The Love 1996", "DJ Dado - X-Files", "W P - ALEX REMARK - Pyramid (In Dream)", "Cafe Del Mar (Original Video) - Energy 52", "Chicane-Offshore", "Sunlounger - Sunkissed (Original Mix)", "Nalin & Kane Beachball", "Miro-Emotions of Paradise" ], "playlistID": "PLb15rbk6I4pNKQXLmsBZ834D9bhcztGkh", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNKQXLmsBZ834D9bhcztGkh", "spotify-playlist-link": "https://open.spotify.com/playlist/7lGnxPSzpe68TYrgz4DQRI?si=dnwtMaTyQv62V34rXgzt-w", "name_zh": "伊比萨浩室/迷幻 & 梦境浩室/迷幻" }, "tra04": { "name": "GOA TRANCE & PSYTRANCE
果阿迷幻 & 迷幻舞曲", "year": "1993", "supergenre-first-tag": "TRANCE", "description": "
果阿迷幻舞曲（Goa Trance）和迷幻舞曲（Psytrance）——两个技术上讲不同但非常相似的流派——在印度果阿省缓慢而早期地开始了。在这里，灵性难民嬉皮士寻求新形式的迷幻音乐，因为浩室（House）和高科技舞曲（Techno）征服了世界，酸性摇滚（Acid Rock）不再时髦。当Trance被发明时，它迅速成为首选音乐，完美地适合伴随致幻药物体验。果阿Trance的几乎每个元素都基于致幻药物和旅行体验，特别是色胺类如魔法蘑菇、LSD、鼠尾草和DMT。\n\n但果阿不仅仅是一个避难所：它是漫长而冒险的嬉皮士小径的目的地，始于伊比沙岛，前往马拉喀什，然后中东，穿越亚洲到加德满都，最后到印度。各种音乐影响沿着这条小径被带来，如中东、伊比沙岛、梦幻和氛围Trance的旋律和乐器，以及印度拉格（Raga）音乐。凭借所有这些影响和新鲜Trance的可能性，果阿Trance（常缩写为Goa）迅速转变为有史以来最复杂、多层次的舞曲音乐：迷幻声音效果的津波。到九十年代末，它演变为Psytrance——更具侵略性和技术性，但保留了精神核心。代表艺人包括Infected Mushroom、Astral Projection、Hallucinogen、Shpongle以及1200 Micrograms。
Goa Trance and Psytrance, two technically different but very similar genres, started off early and slowly in the province of Goa, India. Here, spiritual refugee hippies sought new forms of psychedelic music as House and Techno conquered the world and Acid Rock was no longer hip. When Trance was invented, it quickly became the preferred music of choice, lending itself perfectly to accompany hallucinogenic drug experiences. Almost every element of Goa Trance is based on hallucinogenic drugs and trip experiences, particularly tryptamines like magic mushrooms, LSD, salvia divinorum, and DMT.

But Goa was not just a refuge: it was the destination of a long and adventurous hippie trail, starting in Ibiza, towards Marrakech, then the Middle East, across Asia to Kathmandu, and then finally India. All kinds of musical influences were brought along this trail, such as melodies and instruments from the Middle East, Ibiza, Dream, and Ambient Trance, and Indian Raga music. With all these influences and the possibilities of fresh Trance, Goa Trance (often abbreviated to “Goa”) rapidly transformed into the most complex, multi-layered dance music ever invented: a tsunami of psychedelic sound effects, intricate melodies, and hyperclean, punctuated kick beats. Goa often uses more simultaneous tracks (multi-tracking) than any other music genre: it is the perfect soundtrack for a lightning-speed transcendental journey into the unconscious mind. Yet Goa is far more than a music genre; Regular Goa parties around the world keep the spirit of a thriving subculture alive. Special Goa deco teams (who dress up parties with psychedelic fluorescent artwork) and multicultural markets reincarnate the sixties message of peace, love and open-mindedness in an entirely different sound and look.

Although Goa Trance has stayed its entire lifespan underground, it is truly a massive genre, popular in the most diverse range of countries (Israel, Brazil, India, Finland, Germany...) and with a plethora of well-established subgenres: Nitzhonot (Israeli fusion with Epic Trance), Full-On (heavily layered and energetic), Suomisaundi (Finnish rave-like minimal Goa), Dark Psy (scary bad trip Goa), Morning Trance (to be played outdoors at sunrise), Old Skool Goa-Trance and even more.
", "songlist": [ "Goa Gil - Acid Boom", "Infected Mushroom - Bust a Move", "ASTRAL PROJECTION - Mahadeva (version original 95)", "hallucinogen - Alpha Centauri.", "1200 Micrograms - LSD [Visualization]", "Dance of the Witches", "Spacetribe - You Can Be Shiva", "Talamasca - Overload ＊BEST QUALITY＊", "Space Buddha - Silent Galaxy", "Yahel Waves of Sound", "Electric Universe - The Prayer" ], "playlistID": "PLb15rbk6I4pPjJXG01Oyge79is-QpjqP1", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPjJXG01Oyge79is-QpjqP1", "spotify-playlist-link": "https://open.spotify.com/playlist/7xROuDlIxKcCGuzIgFgVMG?si=BxIyTnIqTrKpLGtgOibJsQ", "name_zh": "果阿迷幻 & 迷幻舞曲" }, "tra05": { "name": "PROGRESSIVE TRANCE
前卫迷幻", "year": "1996", "supergenre-first-tag": "TRANCE", "description": "
流行音乐史上最复杂的故事之一是渐进浩室（Progressive House）和渐进迷幻舞曲（Progressive Trance）之间的纠结。浩室版本非常、非常像Trance，而Trance版本受到浩室的强烈影响。此外，两种流派在其历史中都经历了多波演变，并互相借用名称，即使对更有经验的EDM专家也造成困惑。尽管有某些信念，它们并不相同，作为两个大型且持久的流派，建议如此对待它们。\n\nProgressive House和Trance中的Progressive一词指的是音乐中和弦的进展：歌曲随着时间逐渐演变。Progressive Trance出现在Progressive House（第二波）之后并受其影响。在主流的、电台编辑过的伊比沙/梦幻Trance和地下的、不妥协的Psytrance之间，需要一个灵活的中间地带。受深浩室（Deep House）成功和公式的启发，Trance演变为更长的歌曲（因此更容易混音），具有延长的积聚、和弦和分解。以比大多数Trance更低的平均速度（约130bpm）和大量使用混响、延迟和冲刷声音，Progressive Trance比大多数Trance形式更柔和和更具氛围性。代表艺人包括John '00' Fleming、Markus Schulz、Gai Barone、Airwave以及Aly & Fila（早期）。
One of the most complicated stories in popular music history is the tangle between Progressive House and Progressive Trance. The House version is very, very Trancelike and the Trance version is strongly influenced by House. Furthermore, both genres have experienced a multi-wave evolution throughout their history and borrowed each others names, confusing even the more seasoned EDM-experts. Despite certain beliefs, they are not the same, and being both large and long-lasting genres, it is recommended treating them as such.

The word “Progressive” in Progressive House and Trance points to a progress of chords within the music: the song gradually evolves over the course of time. Progressive Trance appears after and is influenced by (the second wave of) Progressive House. Between mainstream, radio-edited Ibiza/Dream Trance and underground, uncompromising Psytrance, there was need for a flexible middle ground. Inspired by the success and formula of Deep House, Trance evolves into much longer songs (thus easier to mix) with extended build-ups, chords and breakdowns. With an average tempo lower than most Trance (around 130bpm) and heavy use of reverb, delay and washing sounds, Progressive Trance aims at a serious sound. Slightly heavy and gloomy and more subtle in its approach of melody (usually in a minor key), the genre is perhaps one of the most effective Trance genres to well up images from another reality.

Just like Progressive House, the genre has no boundaries edged in stone. There is much music that falls somewhere between Progressive and something else, such as Tech House, Tech Trance, Hardtrance, or whatnot. After Epic Trance’s peak after the turn of the millennium, Progressive Trance retakes its position as the primary force within Trance.
", "songlist": [ "cm-dream universe original mix", "Xpander (Original) - Sasha", "Blue alphabet - Yellow evolution", "BT - Nocturnal Transmission", "Moogwai - Viola (Original Mix)", "Albion - Air (Original Mix)", "Talla 2XLC Calls Moguai - Into Another (Moguai Clubmix)", "Lost Tribe - Gamemaster", "PPK - Resurrection (full version)" ], "playlistID": "PLb15rbk6I4pMpHKGLdRGhQTIKtr9U40jj", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMpHKGLdRGhQTIKtr9U40jj", "spotify-playlist-link": "https://open.spotify.com/playlist/2HGguIXzxt8yFyALluChY7?si=4kCVELl-SYydtNKaFk2zzA", "name_zh": "前卫迷幻" }, "tra06": { "name": "EUROTRANCE & VOCAL TRANCE
欧洲迷幻 & 人声迷幻", "year": "1997", "supergenre-first-tag": "TRANCE", "description": "
当伟大的欧陆舞曲（Eurodance）热潮最终即将平息时（约1997年），一种新的面向热门排行榜的舞曲音乐取代了它的位置。梦幻Trance（Dream Trance）、伊比沙Trance（Ibiza Trance）和经典Trance（Classic Trance）由大型Trance制作人的混音以及先锋提升Trance（Uplifting Trance）曲目在九十年代后半期开始零星地出现在主流电台和热门排行榜上。从这种新的和激动人心的音乐中汲取线索，欧陆浩室（Eurohouse）转化为欧陆Trance（Eurotrance）。\n\n声乐Trance（Vocal Trance）是Eurotrance的一种特定且非常流行的类型，以女性诗句和忧郁或情感副歌为特征。Eurotrance和特别是Vocal Trance具有清晰的电台友好导向：歌曲是编辑过的单曲，不是长混音曲目。因此，Vocal Trance比任何其他形式的Trance都更有结构，在和声和旋律上都是如此，最类似于流行音乐，赋予其别名：流行Trance（Poptrance）。该流派在欧陆浩室曾经盛行的那些国家最为流行：德国、荷兰、比利时、瑞典和英国。代表艺人包括ATB、Alice Deejay、Fragma、Ian Van Dahl以及Lasgo。
When the great Eurodance craze was finally about to lay down (around 1997), a new hit chart oriented Dance music took its place. Dream Trance, Ibiza Trance & Classic Trance remixes by big Trance Producers and pioneering Uplifting Trance tracks start to show up sporadically in the second half of the nineties on mainstream radio and hit charts. Taking cues from this new and exciting music, Eurohouse transformed into Eurotrance. Vocal Trance is a specific and very popular type of Eurotrance with female verses and melancholic or emotional choruses.

Eurotrance and particularly Vocal Trance have a clear radio-friendly orientation: songs are edited singles, not long mix tracks. Therefore, Vocal Trance is more structured, both in harmony and melody, than any other form of Trance, and most similar to Pop music, giving it its alias: Poptrance. The genre became most popular in the same countries where Eurohouse was: Germany, Netherlands, Belgium, Sweden, and the UK.

Though rather small and modestly influential, Vocal Trance tremendously helped spread Trance to a much greater audience. Together with Uplifting Trance, Vocal Trance forms “commercial” Trance, which lost popularity after 2002 in favor of more “underground” types of Trance: Tech, Hard, and Progressive. This loss can partially be explained by an exuberant abundance of commercial trance, which left adversaries to choke in their loathing. But the merit of commercial Trance cannot be swooped under the rug: bringing a massive amount of Dance-crazed people together in an ecstatic environment without drug excesses or hassle reports.
", "songlist": [ "Sash! feat. La Trec - Stay (Official Video)", "Darude - Sandstorm", "Gigi D'Agostino - L'Amour Toujours ( L'Amour Toujours )", "Safri Duo - Played-A-Live (Enhanced Video)", "Silence - Delirium ft Sarah Mclachlan", "Ian van Dahl - Castles In The Sky (Official Video)", "Tina Cousins - Pray", "Lasgo - Something (OFFICIAL VIDEO)", "Aurora ft. Naimee Coleman - Ordinary World.mpg", "Paul van Dyk - Nothing But You", "The Mackenzie ft. Jessy - Innocence" ], "playlistID": "PLb15rbk6I4pMyx-FxKHT3b8FKW584NoWX", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMyx-FxKHT3b8FKW584NoWX", "spotify-playlist-link": "https://open.spotify.com/playlist/7EVxq3SpjTbw3lMrY87JTG?si=I3U5UjyUTmKO3XXpSfmp4A", "name_zh": "欧洲迷幻 & 人声迷幻" }, "tra07": { "name": "HARDTRANCE
硬派迷幻", "year": "1999", "supergenre-first-tag": "TRANCE", "description": "
一：渐进Trance（Progressive Trance）和硬浩室/ NRG在九十年代中期导致了欧洲各地迪斯科舞厅的急剧增长，有时甚至是太大的城市中心无法容纳的舞曲殿堂。其中，这些流派被混音、重新混音并开始相互靠近。这可以被视为硬Trance（Hardtrance）的第一波（原初波）和Progressive Trance的第三波。\n\n二：由于制造工艺的改进，摇头丸（ecstasy）药片中的平均MDMA含量在九十年代末的短时间内几乎翻了一番。三：非自愿退休的碎拍硬核（Breakbeat Hardcore / Rave）制作人在寻找新的、未涉足的声音领域，并发现了早期Hardtrance用于狂喜大众音乐的潜力。一+二+三=第三波Rave，在新千年之前完全成熟为Hardtrance。Hoover和酸性声音，以及极硬底鼓节拍上的混响，赋予Hardtrance那种Rave感。巨型迪斯科舞厅开始崛起，配备大量激光、小道具和刺激性的go-go舞者。这里几乎没有解释的余地：Rave回来了，但是伪装了。女性或失真声音采样带有萦绕和阴险但混杂的触感，累积到已经黑暗和忧郁的声音上。代表艺人包括Scot Project、Kai Tracid、Yoji Biomehanika、A*S*Y*S以及Warmduscher。
One: Progressive Trance and Hard House/NRG lead to a steep rise of discotheques across Europe during the mid-nineties, sometimes even dance temples too large for urban centers. Herein, these genres get mixed, remixed and start growing towards each other. This can be regarded as the first (proto) wave of Hardtrance and the third wave of Progressive Trance.
Two: the average MDMA-content in an ecstasy tablet nearly doubles within a short timespan at the end of the nineties due to enhanced manufacturing.
Three: unwillingly retired Breakbeat Hardcore (Rave) producers are in search for new, unthreaded sound territory and discover the potential of early Hardtrance for ecstatic mass-catered music.

One + Two + Three = the third wave of Rave, fully matured right before the new millennium into Hardtrance. Hoover and acid sounds, and reverb on very hard kick beats give Hardtrance that Ravey feeling. Mega-discotheques start to rise, with heavy laser use, gadgets and stimulating go-go dancers. Here is little room for interpretation: Rave is back, but in disguise. Female or distorted vocal samples with a haunting and sinister but promiscuous touch accumulate to an already dark and melancholic sound: this is music for the long night, driving from club to club without a sense of time. The British Gatecrasher clubs were particularly responsible for making the genre popular.

With an average tempo between 140-180 bpm, Hardtrance is very fast; its bassline is deep and driving. But leading synth melodies come less to the foreground or are replaced by synth stabs, partially as a response to the commercialism of mainstream Uplifting Trance. The beats become even stronger and Rap elements turn up when Breakbeat Hardcore producers have their way with Hardtrance. After 2001, the genre becomes harder once more, less melodic and progressive, and gradually evolves into Hardstyle.
", "songlist": [ "Push - Universal Nation (Original 12＂ Mix)", "RMB - Love Is An Ocean (Stephenson Remix)", "Central Seven - Missing (1999)", "Boccaccio Life - The secret wish", "Cosmic Gate - Firewire (Official Music Video) ｜ Ministry of Sound", "Space Frog - X-Ray (Follow Me)", "Trance Generators - Do U Wanna Balloon (Original Mix)", "Brooklyn Bounce - Bass, Beats & Melody", "lee haslam-music is the drug", "Blow Da Roof - Stimulant DJ's" ], "playlistID": "PLb15rbk6I4pNk6J7PE1xRJACHguWJnZVc", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNk6J7PE1xRJACHguWJnZVc", "spotify-playlist-link": "https://open.spotify.com/playlist/0s1gAkdEcoskt8LkFrReJe?si=B8PmCjKIRRy3R7XhXg2mcA", "name_zh": "硬派迷幻" }, "tra08": { "name": "UPLIFTING TRANCE / EPIC TRANCE
振奋迷幻 / 史诗迷幻", "year": "2001", "supergenre-first-tag": "TRANCE", "description": "
提升Trance（Uplifting Trance，也称为Epic Trance或Anthem Trance）起源于九十年代中后期，源自渐进Trance（Progressive Trance）。在德国，一些歌曲变得甚至比平常更长、稍快（136-144bpm）。和弦进展增加，特别是分解段落变得非常长，以积聚到一个推迟的巅峰。逐渐地，越来越多的元素被投入混音中以增强Uplifting Trance的一切关于快乐、亢奋的感觉（如弦乐、高八度旋律、女性声音采样和分层琶音）。\n\n这不是像许多以前的舞曲流派那样摧毁房屋的失控狂喜；Epic Trance是一种新的感觉：以挥舞手海、日间场地和激光为象征的亢奋极乐。然而，这是以忽视贝斯为代价的，被描述为简单化且高度重复。Epic Trance有比Eurotrance长得多的歌曲，用于节日或舞蹈活动，而后者更多针对唱片销售和电台广播。2001年，荷兰制作人开始发明超级锯齿波（supersaw）声音，结合多个锯齿波合成波形以创建一种空灵、过度轰动的音墙，这成为现代Trance的模板。代表艺人包括Armin van Buuren、Tiësto（早期）、Ferry Corsten、Above & Beyond以及Aly & Fila。
Uplifting Trance (also referred to as Epic Trance or Anthem Trance) finds its origin in the mid and late nineties out of Progressive Trance. In Germany a number of songs become even longer and slightly faster than usual (136-144bpm). Chord progression increases and especially breakdown sections become incredibly long to build up to a postponed apotheosis. Gradually, more and more elements get thrown into the mix to enhance the joyful, euphoric feeling Uplifting Trance is all about (such as strings, high-octave melodies, female vocal samples and layered arpeggios). This is not uncontrolled ecstasy tearing down the house like many previous Dance genres; Epic Trance is a new kind of sensation: euphoric bliss symbolized by a mass of waving hands, daytime venues and lasers. However, this comes at the expense of a negligence of bass, described as simplistic and highly repetitive. Epic Trance has much longer songs than Eurotrance, meant for festivals or dance events, whereas the latter genre is more aimed at record sales and radio broadcasting.

In 2001, Dutch producers start to invent the “supersaw” sound, which combines multiple sawtooth synth waves to create an ethereal, oversensational melody and a new term arrives: “Dutch Trance”. This moment marks an enormous eruption of Uplifting Trance, where the genre lurks out of the underground into heavily marketed mainstream mega events. Dutch Trance signals the rise of the DJ as an international superstar. Because of its large focus on the most characteristic Trance elements (breakdowns, build-ups, climatic, long arpeggios) and its brief moment of international fame, Uplifting Trance is also known as “Pure Trance”. A noun firmly resented by the opposite side of Classic and underground Trance lovers.
", "songlist": [ "DJ Tiesto - Adagio For Strings", "Rank 1 - Airwave (Original Mix)", "Binary Finary - 1998 (Original Mix)", "Ferry Corsten - Beautiful (Original Extended) [HQ]", "Svenson & Gielen - The Beauty Of Silence (Original Extended Mix)", "Armin van Buuren feat. Kensington - Heading Up High (Official Music Video)", "Cygnus X - Superstring (Rank 1 Remix) [Official Video]", "System F - Dance Valley Theme 2001 (Official Video)", "DJ Tatana ft. Energy - End of Time", "Members of Mayday - 10 in 01" ], "playlistID": "PLb15rbk6I4pPg0suYlfymdGPM_aee5YD3", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPg0suYlfymdGPM_aee5YD3", "spotify-playlist-link": "https://open.spotify.com/playlist/1BlvflHvddYkpNSoHOu0px?si=zTJKPWDhRaeXSMjo5EeXQg", "name_zh": "振奋迷幻 / 史诗迷幻" }, "tra09": { "name": "NEO-TRANCE
新迷幻", "year": "2006", "supergenre-first-tag": "TRANCE", "description": "
最新的Trance风格，新Trance（Neo-Trance），是渐进Trance（Progressive Trance）的进一步进展，尽管朝极简方向。这一流派显然比其灵感——极简浩室和高科技舞曲（Minimal House & Techno）——更旋律化。但旋律没有积聚或高潮，也不是任何颂歌式或轰动的。它隐入背景，几乎无法让听众入迷。结合比大多数Trance更慢的平均bpm，新Trance可能相当准确地被描述为氛围极简Trance。\n\n微风般的、温柔的旋律和软性底鼓使新Trance成为夏日俱乐部音乐，让人想起巴利阿里Trance（Balearic Trance）。但贝斯线上也有压缩和粗粝的失真，像一个黑暗威胁透过初看似乎宁静无害的氛围渗透。讽刺的是，音乐根本不是来自伊比沙岛，而是丹麦和德国，那里Trance的最后残余溶解在这种通用跨界中，被评论家指控为自我放纵和人为的精致。在同样那些国家，一种极简形式的果阿（Goa）简单地命名为极简主义Psytrance，也在崛起。代表艺人包括Trentemøller、Gui Boratto、Nathan Fake、Extrawelt以及Minilogue。
The newest style of Trance, Neo-Trance, is the further progress of Progressive Trance, albeit in a minimal direction. This genre obviously is more melodic than its inspirations, minimal House and Techno. But the melody has no builds or climaxes nor is it anything anthem-like or sensational. It fades into the background, barely capable of entrancing the listener. Combined with a slower average bpm than most Trance, Neo-Trance might pretty accurately be described as ambient minimal Trance. The breezing, gentle melodies and soft kicks make Neo-Trance summer club music, reminding of Balearic Trance. But there is also compression and gritty distortion on the basslines, like a dark threat penetrating through an atmosphere that seems serene and harmless at first sight. Ironically, the music does not come from Ibiza at all but Denmark and Germany, where the last remnants of Trance dissolve into this generic crossover, accused by critics of self-indulgence and artificial sophistication. In those same countries, a minimal form of Goa simply named Minimalist Psytrance, rises as well; a sign that after years and years of “maximalist” Rave and Trance genres, there is only one direction left to go.
", "songlist": [ "Trentemøller： Moan (Trentemøller Dub Remix)", "Gui Boratto - No turning back (Original Mix) HQ", "James Holden - A Break In The Clouds [Main Mix]", "Nathan Fake - The Sky was Pink", "Extrawelt - Soopertrack Original (High Quality)", "Dominik Eulberg - Der Tanz der Gluehwuermchen", "Microtrauma - Diffusion (Traum 135)", "Popof- Serenity [HQ]", "Shiva Chandra - Pieces" ], "playlistID": "PLb15rbk6I4pOSIhycaqAYsyDC_0WZGGqT", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOSIhycaqAYsyDC_0WZGGqT", "spotify-playlist-link": "https://open.spotify.com/playlist/0dofcEhANdB7hnG9PPukuD?si=AbUWcIzxRfCjzwD6-ZyCUw", "name_zh": "新迷幻" }, "dtp01": { "name": "MUSIQUE CONCRÈTE
具象音乐", "year": "1948", "supergenre-first-tag": "DOWNTEMPO", "description": "
所有电子音乐的起源早在四十年代就已开始：古典作曲家（主要是欧洲的）在先进的声音工作室中实验磁带的新的可能性。通过录制、重播、循环、多轨录音、反转、声音改变和延迟，他们能够创建长而多样的作品，无需现场乐器。因此，第一个人工创作的音乐诞生了。具体音乐（Musique Concrète）没有起源，没有母流派；它直接从最早的电声音乐演变而来，如Theremin表演。\n\nMusique Concrète的前卫-前卫作曲家视自己为学术研究者。在他们看来，这种音乐比任何其他音乐都更真实（具体）。由现场乐器演奏的音乐是某种抽象的、转瞬即逝的东西。一旦你听到了它，它就消失了。他们的音乐不是这样；它被录制和存储，为永恒而保存，能够被暂停、倒带、重新聆听等。1975年，第二波Musique Concrète（声音拼贴 Sound Collage 或磁带音乐 Tape Music）发生，用先进的录音机将所有声音采样成音景。代表艺人包括Pierre Schaeffer、Pierre Henry、Karlheinz Stockhausen、John Cage以及Edgard Varèse。
The origin of all electronic music already started in the forties: classical composers (mostly European) experimented in advanced sound studios with the new possibilities of magnetic tape. By recording, replaying, looping, multi-tracking, reserving, sound altering and delaying they were able to create long and diverse compositions without the need for live instruments. Thus the first artificially created music was born. Musique Concrète has no origin, no parent genre; it evolves directly out of the very first electro-acoustic music, such as Theremin performances.

The avant-avant-garde composers of Musique Concrète saw themselves more than academic researchers. To them, this music was more real (concrete) than any other. Music played by live instruments was something abstract, fleeting. Once you heard it, it was gone. Their music wasn’t; It was recorded and stored, saved for eternity, and capable of being paused, rewinded, re-listened and more. In 1975, a second wave of Musique Concrète (Sound Collage or Tape Music) took place, sampling all sounds into soundscapes with advanced recorders.
", "songlist": [ "Edgard Varèse - Poème électronique", "John Cage： Music of Changes (1951)", "pierre schaeffer - ＂etude aux chemins de fer＂", "karlheinz stockhausen GESANG DER JÜNGLINGE", "Pierre Henry ： Le voile d'Orphee II (1953)", "Bruno Maderna： Musica su due dimensioni (1958)", "Hétérozygote", "Anestis Logothetis - Fantasmata (1960)", "Leon Theremin playing his own instrument" ], "playlistID": "PLb15rbk6I4pPVY_TGaJgiS1Vc_cvLbXyI", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPVY_TGaJgiS1Vc_cvLbXyI", "spotify-playlist-link": "https://open.spotify.com/playlist/4sa6UskEHNWY4oLjaF6YOw?si=Nk34m_gETNKUyHjuTtTV0Q", "name_zh": "具象音乐" }, "dtp02": { "name": "LOUNGE / EXOTICA / SPACE AGE POP
沙发音乐 / 异域风情 / 太空时代流行", "year": "1953", "supergenre-first-tag": "DOWNTEMPO", "supergenre-second-tag": [ "slave", "(pop)" ], "description": "
Lounge（休闲音乐）是五六十年代在酒吧、社交场所，当然还有酒店大堂的背景音乐的术语。它是让人们舒适和放松的音乐，而不引起太多关注本身。第一波Lounge（又名纯粹或原声Lounge）是一个相关子流派的松散集合，通常基于摇摆爵士（Swing）的模板：太空时代流行乐（Space Age Pop，主要的Lounge流派，以太空时代/五十年代命名，并有大量拉丁爵士影响）、Exotica（类似，但有更多夏威夷、加勒比或大洋洲影响）、Mambo、拉丁爵士（Latin Jazz）和巴萨诺瓦（Bossa Nova）。\n\n所有这些流派通过它们温暖、异国情调和舒适的感觉连接在一起。与Muzak和新世纪（New Age）一起，Lounge也被称为Easy-Listening，尽管该术语作为流派的使用是有争议的。Space Age Pop和Exotica之间的差异很小。两种流派都搅动起另一个地方的画面：一个异国情调的（复古）梦幻世界，让听众在放松中度假。在六十年代，Lounge被摇滚的成功所湮灭，需要三十年才能重新站起来。代表艺人包括Juan García Esquivel、Les Baxter、Martin Denny、Arthur Lyman以及Combustible Edison。
Lounge is the term for background music in the fifties and sixties at bars, social places, and of course hotel lounges. It’s music to make people comfortable and relaxed without drawing too much attention to itself. The first wave of Lounge (aka pure or acoustic Lounge) is a loose collection of related subgenres, often based on the template of Swing: Space Age Pop (the principal Lounge genre, named after the space age aka the fifties and with many Latin Jazz influences), Exotica (similar, but with more Hawaiian, Caribbean, or Oceanian influences), Mambo, Latin Jazz, and Bossa Nova. All these genres are connected by their warm, exotic, and cozy feel. Combined with Muzak and New Age, Lounge is also known as Easy-Listening, though the use of this term as a genre is contested. The difference between Spage Age Pop and Exotica is minimal. Both genres stir up a picture of another place: an exotic (retro) dreamworld to take the listener on holiday while relaxing.

In the sixties, Lounge gets annihilated by the success of Rock and it would take three decades to get back on its feet. Bands Saint Etienne, Combustible Edison, and Pizzicato Five revived acoustic Lounge in the nineties, but their success was little compared to the real second wave of Lounge taking place at the same time. In this wave, Jazz was no longer used but replaced by soft, slow, electronic music (especially Ambient was a big influence) and the word “Lounge” got a new meaning. Electronic Lounge or Loungetronica as it is called, is not listed as a separate genre but divided on the Carta into its distinctive subgenres: Nu-Jazz, Trip Hop, Broken Beats, Ambient House, and Jazzstep. The abundant Lounge compilation albums available feature a variety of these genres, and often include songs that cross over to one of the other genres. This has created the illusion that electronic Lounge is a real separate genre. Though when it comes to conveying these otherwise hard-to-find tracks into your living room, the end justifies the means.
", "songlist": [ "Esquivel - Surfboard", "Martin Denny - Hypnotique", "Percy Faith - Theme From A Summer Place", "Les Baxter - Tropicando", "Lujon", "Perry Como - Fly Me To The Moon", "Sergio Mendes + Brasil 66 - MAS QUE NADA - In Stereo!", "Arthur Lyman Quiet Village", "COMBUSTIBLE EDISON - spy vs spy" ], "playlistID": "PLb15rbk6I4pNKBlvCwvRlSRtBGYI9K6N_", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNKBlvCwvRlSRtBGYI9K6N_", "spotify-playlist-link": "https://open.spotify.com/playlist/6UF8ig4drnUkcapQj0IQJg?si=2uiYFTuZS8a3Omy5j0ST7Q", "name_zh": "沙发音乐 / 异域风情 / 太空时代流行" }, "dtp03": { "name": "MINIMALISM
极简主义", "year": "1959", "supergenre-first-tag": "DOWNTEMPO", "description": "
在五十年代末，第一个合成器被发明了。它是一个巨大且昂贵的机器（不像1969年左右发布的商业合成器），只能由学术研究人员使用。一小撮欧洲作曲家，受具体音乐（Musique Concrète）启发，有机会使用它，并立即将此视为挑战所有正式音乐惯例的黄金机会。这种电子先锋派（被今天的许多艺术家视为天才大师）创造了太空感、交织的作品，带有大量的沉默和长音符。\n\n没有节奏或模式可以发现，它根据定义是非序列的。人们可能会认为这会困扰听众，但由于其缓慢的速度和舒缓的、太空或水下般的声音，极简主义音乐对耳朵非常温柔。这些嗡鸣声使极简主义成为第一个嗡鸣音乐（drone music）流派。极简主义者从音乐宇宙最遥远的角落汲取线索：来自中东的旋律、来自东方文化的数学结构、致幻药物和实验性古典音乐如克劳德·德彪西（Claude Débussy）。他们在东方音乐结构和理论上使用了西方乐器和技术。代表艺人包括Terry Riley、Steve Reich、Philip Glass、La Monte Young以及Tony Conrad。
At the end of the fifties, the very first synthesizer was invented. It was a huge and expensive machine (not like the commercial synthesizers released around 1969) that could only be used by academic researchers. A handful of European composers, inspired by Musique Concrète, had the chance to work with it and immediately saw this as a golden opportunity to defy all formal musical conventions. This electronic avant-garde (regarded by many artists today as genial grandmasters) created spacey, interwoven compositions with lots of silence and long notes. There was no rhythm or pattern to be found, it was non-serial by definition. One could think that this would bother the listener, but thanks to its slow tempo and soothing, space- or underwater-like sounds, Minimalistic music is very gentle to the ear. These “droning” sounds make Minimalism the very first genre of drone music.

Minimalists drew cues from the most outlying corners of the musical universe: melodies from the Middle East, mathematical structure from eastern cultures, hallucinogenic drugs and experimental classical music such as Claude Débussy. They used western instruments and technology on eastern music structure and theory – the result was one of the most influential electronic music genres of all time.

A brief backlash by female vocalists known as Voice Music, ensued Minimalism. These artists renounced what they regarded as exorbitantly cold, machined, rational, technical and masculine music. Their fear that the world of music would change into a field where mathematicians pulled the strings and emotion was banned, (luckily) turned out to be unjust.
", "songlist": [ "terry riley - journey from the death of a friend (1972)", "Steve Reich • Clapping Music", "Philip Glass - Music in 12 parts (original recording Virgin) - Part 1", "La Monte Young - Pre-Tortoise Dream Music, Part Two", "1-100 (Faster Decay) (2004 Digital Remaster)", "Colours of Time, Part 1", "Adams - Phrygian gates (1978)", "Jon Hassell - Amsterdam Blue", "Theme From ＂A Clockwork Orange＂ (Original)" ], "playlistID": "PLb15rbk6I4pNIf8ecXfN95teoBrbFnXhg", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNIf8ecXfN95teoBrbFnXhg", "spotify-playlist-link": "https://open.spotify.com/playlist/2cqLGkn4CJl44Ui5iGoWLC?si=iD7JRIVpTeel0SlIFWTeCQ", "name_zh": "极简主义" }, "dtp04": { "name": "MUZAK / ELEVATOR MUSIC
背景音乐 / 电梯音乐", "year": "1962", "supergenre-first-tag": "DOWNTEMPO", "description": "
Muzak主要由简单、轻量级、爵士风格的旋律组成，具有极少的贝斯或打击乐。自其发明以来，它频繁被用作电梯、机场、游泳池、购物中心或任何其他人们可能感到不适的公共场所的背景音乐。因为某种程度上，Muzak可以被视为心理健康的保护者；为这些在五十年代末之前不存在的新奇公共场所（福柯的异托邦）而设的新音乐。尽管Muzak本身自二十年代以来就以所谓家具音乐（Furniture Music）存在，但直到六十年代初才突破。\n\nMuzak这个名字实际上来自一家专门制作录制背景音乐的公司，他们在六十年代将其出售给公共场所，特别是作为激励劳动力的工具出售给公司。早期Muzak深受法国作曲家埃里克·萨蒂（Erik Satie）作品的影响，他用其重复和极简的编排或钢琴作品激发了整个先锋缓拍（Downtempo）。到六十年代初，Muzak也在这些受限制的领域之外变得流行。早期Easy-Listening流派——Muzak和Lounge——之间的区别在于，Lounge被认为是可听的消遣，而Muzak纯粹是背景音乐。代表艺人包括Ray Conniff、Mantovani、The 101 Strings Orchestra、Percy Faith以及Bert Kaempfert。
Muzak mainly consists of simple, lightweight, jazzy melodies with minimal bass or percussion. Since its invention, it has been frequently used as background music for elevators, airports, swimming pools, shopping malls or any other public place where people might get uncomfortable. Because in a way, Muzak can be seen as a preserver of mental wellbeing; “new” music for these new, strange public places, which didn’t exist before the late fifties (Foucault’s heterotopias). Though Muzak itself already existed since the twenties as so called “Furniture Music”, it wasn’t until the early sixties that it broke through. The name Muzak came actually from a company specialized in making taped background music, which they sold to public venues in the sixties and particularly to companies as a tool to motivate their workforce. Early Muzak was strongly influenced by the works of French composer Erik Satie, who inspired the whole of avant-garde Downtempo with his repetitive and minimal arrangements or piano works. By the early sixties, Muzak becomes also popular outside these constrained spheres.

The difference between the early Easy-Listening genres - Muzak and Lounge - is that Lounge is supposed to be intimate, warm and moody (to enhance a certain setting) where Muzak is extremely functional. It serves either to break any (awkward) silence and mask irritating background noises or to increase working productivity. After the sixties, Muzak became an extremely derogatory term for spineless, idle music. Labeling an artist’s work as “muzak” is considered the most feared coup de grace.
", "songlist": [ "Balada para Adelina ( Richard Clayderman )", "Muzak Stimulus Progression 2： Elevator Music Cover of Lady Blue", "Yiruma - Moonlight", "david foster - st. elmo's fire", "BOB ACRI - Sleep Away", "The Muzak Corporation - Muzak", "Lee Ritenour - Night Rhythms", "Paul Mauriat - I like Chopin", "Mall Music Muzac 1974 - Volare" ], "playlistID": "PLb15rbk6I4pPKi7NvYsZL-2tIaV3wZ7j9", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPKi7NvYsZL-2tIaV3wZ7j9", "spotify-playlist-link": "https://open.spotify.com/playlist/0RqCu4CEeclgrRSLVvAL8e?si=gHILaz7sSr2g6PWgfhBwSQ", "name_zh": "背景音乐 / 电梯音乐" }, "dtp05": { "name": "SYNTH / ELECTRONICA
合成器 / 电子乐", "year": "1972", "supergenre-first-tag": "DOWNTEMPO", "description": "
Electronica这一术语在九十年代初由美国媒体给了一系列面向专辑和单曲的EDM流派（Big Beat、IDM、Ambient Breaks和Ambient House），这些流派具有高流行度。不幸的是，这个集合比其他任何东西都更人为，并很快成为音乐鉴赏家鄙视的流派名称。然而，它也被稍微更恰当地用于最早的电子流派之一：Synth。在六十年代末，一种单一的可负担电子乐器突然被投放到市场上，它能够做任何事情！旋律、节奏、节拍，多合一：使用合成器一切皆有可能。\n\n第一批合成器的可能性并非无限，一些预设比其他的更受欢迎。这一事实结合未知DIY作曲家的渴望，导致了一波类似电子曲调的雪崩：强烈、朗朗上口的旋律（通常是四个简单和弦），交替以太空感声音效果（如飞碟），并伴有合成器弦乐或情绪化贝斯和弦，要么没有节拍，要么带有内置鼓机的回响雷霆。在八十年代，这种所谓Electronica（更被称为Synth）在车库乐队中非常流行，他们喜欢其科幻主题。代表艺人包括Jean-Michel Jarre、Vangelis、Kitaro、Tangerine Dream（后期）以及Wendy Carlos。
The term “Electronica” was given in the early nineties to a collection of album and single oriented EDM genres with high popularity (Big Beat, IDM, Ambient Breaks and Ambient House) by the American press. Unfortunately, this collection was more artificial than anything else, and became soon a despised genre name by music connoisseurs. It is however also used, slightly more appropriate, for one of the earliest electronic genres: Synth.

At the end of the sixties, a single affordable electronic music instrument was suddenly released on the market that was able to do anything! Melody, rhythm, beats, all-in-one: it was all possible with the use of the synthesizer. The possibilities of the first synthesizers were not endless however, and some presets were more liked than others. This fact combined with the eagerness of unknown DIY-composers resulted in an avalanche of similar electronic tunes: strong, catchy melodies (often four simple chords), alternated by spacey sound effects (e.g. flying saucers) and accompanied by synth strings or moody bass chords, either without beat or with the echoing thunder of built-in drum computers.

In the eighties, this so called “Electronica” (better known as synthesizer music or simply Synth) saw a small revival as the bass-driven and hollow sounding subgenre Darksynth or Horrorsynth, the soundtrack for all neon-filled sci-fi and technology horror films. Most of Synth was part of the so called subgenre “Spacesynth”: music for science fiction films or filled with space-like sounds. Synth became the favorite music for almost any late seventies and early eighties television and film theme, as it was a fairly new and unexpected sound that presented a challenge to be used for anything else.
", "songlist": [ "Jean-Michel Jarre - Oxygene, Pt. 4", "Pulstar (Audio)", "Mike Oldfield - Tubular Bells ✔ (The Exorcist Soundtrack)", "The Alan Parsons Project - Mammagamma", "Art Of Noise - Moment Of Love (Original)", "Brad Fiedel - ＂Terminator Theme (Extended)＂ (The Terminator OST)", "The Eve Of The War", "Ed Starink - World", "Angelo Badalamenti Twin Peaks Theme ( Instrumental) 1990", "Jan Hammer - Crockett's Theme (Miami Vice)" ], "playlistID": "PLb15rbk6I4pN577-Ejd9OJU64LD6ahUot", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pN577-Ejd9OJU64LD6ahUot", "spotify-playlist-link": "https://open.spotify.com/playlist/7g2OhKbeMJ1mUiLMydVPWb?si=yKKlY1OqQU2VfGQdcIYd9Q", "name_zh": "合成器 / 电子乐" }, "dtp06": { "name": "AMBIENT
氛围音乐", "year": "1973", "supergenre-first-tag": "DOWNTEMPO", "description": "
与Synth正式的合成器音乐不同，一些艺术家回归到极简主义者及其声音实验的根源。即使使用基本的商业合成器，仍然可能创造出真正实验性的东西，但该流派实际上是一场涉及原声乐器的事故：Brian Eno巧合地将竖琴的琶音放慢到溶解点。于是，氛围音乐（Ambient）诞生了。这次的概念与往日不同：音乐不应再是一个自主元素，而应是环境的一个不可分割部分。这是通过创造最微妙、几乎听不到的声音——具有非常自然的声音——来完成的。\n\n最终结果是一幅环境声音的拼贴画，与听众的周围环境融为一体。与Muzak或Lounge相反，这不是为公共场所的音乐，而是为听众自己的个人内部空间——为私人场所——以便人们可以完全放空。来自不同背景的艺术家，如前卫摇滚乐队Yes和Genesis，以及高度创新的独奏者被音乐作为形式、音乐作为空间，而非家具或某种具体事物的想法所吸引。Ambient广泛依赖于嗡鸣、延长的声音和极简的和声运动。代表艺人包括Brian Eno、Harold Budd、Steve Roach、Lustmord（早期氛围）以及The Orb（氛围浩室过渡）。
Instead of the formal synthesizer music of Synth, some artists returned to the roots of the Minimalists and their sound experiments. Even with basic, commercial synthesizers it was still possible to create something truly experimental, but the genre was actually an accident involving an acoustic instrument: Brian Eno coincidentally slowed down the arpeggio of a harp to the point of dissolution. And thus Ambient was born. The concept this time was different than in the old days: the music should no longer be an autonomous element, but an inseparable part of the environment. This was done by creating the most subtle, barely audible sounds possible with a very natural sound. The end result was a collage of environmental sounds, blending in with the surroundings of the listener. Contrary to Muzak or Lounge, this was not music for public places, but for the listener’s own personal interior - for private places - so one could completely space out. Artists from various backgrounds, such as Progressive Rock bands Yes and Genesis, as well as highly innovative soloists were attracted to the idea of music as form, music as space, and not as furniture or something concrete.

Ambient has extensive songs that are arguably the most progressive and impressionist of all music genres; very slowly and gradually the music changes in time while subtly and vaguely presenting images from another reality, like Ravel's “Bolero”. Ambient, Synth/Electronica, experimental New Age and more electronic types of Prog Rock share a great deal of overlapping. The philosophical concepts of these “Progressive Electronic” genres could be applied to many other ones as well, ranking them high as influential styles. In Germany, a very influential style of Ambient, known as the Berlin School, drew cues from Kraftwerk and laid the foundations for many Downtempo and Synthpop to come.
", "songlist": [ "Brian Eno - 1⧸1", "Tangerine Dream Zen Garden", "Global Communication - 02 - 14_31", "E2 E4 - Full Suite", "The Oh of Pleasure - Ray Lynch", "Floating", "Michael Shrieve - Communiqué： ＂Approach Spiral＂", "Isao Tomita - Arabesque No. 1", "Nils Frahm - Says (Official Music Video)" ], "playlistID": "PLb15rbk6I4pOP9hvdc_MYOh5i58uW29um", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOP9hvdc_MYOh5i58uW29um", "spotify-playlist-link": "https://open.spotify.com/playlist/0e5UBukHyNqxTt5VG004GI?si=RAnvdD2hQUa8IjHupwBXJg", "name_zh": "氛围音乐" }, "dtp07": { "name": "BIT MUSIC / VGM (CHIPTUNE & 16BIT)
芯片音乐 / 游戏音乐", "year": "1978", "supergenre-first-tag": "DOWNTEMPO", "description": "
随着早期家用电脑和第一批游戏主机的到来，一种奇怪而特殊的音乐诞生了：为电子游戏制作的电子音乐。由于原始的芯片和硬件，这种音乐必须在数据上很小，因此默认是极简主义的、低保真的，并由重复部分（循环）组成。通常它不过是朗朗上口的高频旋律和由小型声音芯片产生的单一有节奏的贝斯和弦（如著名的俄罗斯方块曲调或吃豆人声音）。\n\n然而，在接下来的几十年里（直到今天），无数艺术家被这种声音所吸引，并开始制作他们自己的游戏音乐——没有游戏。起初，电子游戏音乐（Video Game Music, VGM），更被称为Bit Music，主要由两个子流派组成：非常基本的8bit音乐即Chiptune（因此基于8位芯片）和稍微更高级的16bit，允许更丰富和更多层次的声音，尽管仍然非常基础。人们可能会期望这种傻气不会止步于此：很快Bit Music与其他流派融合，如重金属，产生Nintendocore。VGM场景也在日本保持了强大的存在，拥有自己专门的游戏音乐作曲家亚文化。代表艺人包括Yuzo Koshiro、Koji Kondo、Anamanaguchi、Tim Follin以及Jake Kaufman（virt）。
With the arrival of early home computers and the first game consoles, a weird and particular kind of music was born: electronic music made for electronic games. Because of primitive chips and hardware, this music had to be small in data and was therefore by default minimalistic, lo-fi and consisting of recurring parts (loops). Often it was barely more than a catchy, high-frequency melody and a single rhythmic bass chord produced by a small sound chip (like the famous Tetris tune or Pacman sounds). The result is an extremely primitive sound, but that didn’t matter as early computers or arcade consoles had low-quality speakers anyways.

However, during the coming decades (and until this very day) countless artists were drawn to the sound and started to make their own game music - without games. At first Video Game Music (or VGM), better known as Bit Music, consisted primarily of two subgenres: very basic 8bit Music aka Chiptune (thus based on 8bit chips) and the slightly more advanced 16bit, which allowed for a richer and more layered sound, though still very rudimentary. One could have expected that the silliness would not stop there: pretty soon Bit Music merged with other genres such as Pop (Bit Pop) and even Hardcore Punk / Metal (Nintendocore). Although this genre might seem like a trivia not worth mentioning, the technology itself brought forth lots of other instruments and influenced other electronic music, while the amount of Bit Music artists is not to be underestimated.
", "songlist": [ "Original Tetris theme (Tetris Soundtrack)", "bit shifter - hexadecimal genome (8bit)", "8bit bEtty - The Hedgehog's Dilemma", "Nullsleep - Her Lazer Light Eyes", "8 Bit Weapon ＂Bits with Byte＂ music video!", "Trash80 - At Teh Disko", "Anamanaguchi - Helix Nebula", "Malmen and Joule - Tomorrow without you", "Fearofdark - Funknitium-99", "Bossfight - Commando Steve" ], "playlistID": "PLb15rbk6I4pNc-evCoa3qGSAMG1x2GXM_", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNc-evCoa3qGSAMG1x2GXM_", "spotify-playlist-link": "https://open.spotify.com/playlist/21wkAjO5xEAe3om00K818Q?si=Mcd_T9G9SfaDY-gPhQm0PQ", "name_zh": "芯片音乐 / 游戏音乐" }, "dtp08": { "name": "NEW AGE
新世纪音乐", "year": "1979", "supergenre-first-tag": "DOWNTEMPO", "supergenre-second-tag": [ "slave", "(pop)" ], "description": "
七十年代的两次演变奠定了新世纪音乐（New Age）的基础。一方面，氛围音乐（Ambient）中引入了自然声音。音乐不需要排斥环境，而实际上可以是环境的声音——最好是一个美丽和逃避现实的环境，涌动着全景风景的生动图像。另一方面，前所未有沉重的、大男子主义的音乐如硬摇滚（Hard Rock）和重金属（Heavy Metal）的兴起。因此，唱片店看到对相反流派的稳定需求增长。在聚光灯打向如此多噪音和青少年导向音乐的情况下，许多（成年）人渴望带有宁静感的音乐。\n\nNew Age通常是原声和电子乐器的精心平衡，这在流派中相当独特。因此，它可以同时取悦摇滚/流行和电子导向的粉丝。尽管大多数New Age是器乐的，但抚慰的人声并不罕见。总体速度非常低（50-60 bpm），过渡逐渐而平滑。New Age用颤抖的音色爱抚心灵，用内在节奏刺激身体。音乐的全部目的是放松，这就是为什么一些人嘲笑地称其为热水浴缸音乐（Hot Tub Music）。但New Age比那更多：它是为冥想、疗愈和灵性探索的音乐。代表艺人包括Enya、Yanni、Kitaro、Andreas Vollenweider以及Deva Premal。
Two evolutions in the seventies laid the foundations for New Age. On one hand there was the introduction of nature sounds in Ambient music. Music did not need to repulse the environment but could actually be the voice of the environment – preferably a beautiful and escapist one, welling up vivid images of panoramic landscapes. On the other hand there was the rise of unprecedented heavy, macho music such as Hard Rock and Heavy Metal. Hereby, record stores saw a steady increase in demand in the opposite genre. With the spotlights on so much noise and teen oriented music, many (adult) people craved music with a sense of calmness.

New Age is often a careful balance of both acoustic and electronic instruments, which is quite unique among genres. Therefore it can please Rock/Pop and Electronic oriented fans at the same time. Though most New Age is instrumental, soothing voices are not uncommon. The overall tempo is very low (50-60 bpm) and transitions occur gradually and smooth. New Age caresses the mind with trembling timbres and stimulates the body with an inner rhythm.The whole purpose of the music is to relax, which is why some have mockingly called it “Hot Tub music”. But New Age is more than a music genre. The urge for nature-connected, tranquillizing music is intertwined with the birth of an affined spiritual subculture also known as New Age. Not long after, New Age became so popular that anything remotely related got tagged as New Age. There were (and are) New Age compilation albums, New Age record divisions, New Age merchandising , New Age homeopathy, and so on. The term became a cosmetics label, seized by capitalistic record labels and used for daily consumption.
", "songlist": [ "Enya - Orinoco Flow (Official Video)", "Kitaro - Matsuri", "Michael Brook RockPaperScissors", "Behind the Waterfall", "Enigma - Sadeness - Part i (Official Video)", "Deep Forest – Sweet Lullaby (Official Video)", "William Ackerman -＂Sound of Wind Driven Rain＂", "Mark Isham ⧸ Tibet Part Ⅲ", "Tanita Tikaram - Twist In My Sobriety (Official Video)", "Hijo de la Luna - Mecano" ], "playlistID": "PLb15rbk6I4pM1-BWU-KpfxSuuuwRCZp_v", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM1-BWU-KpfxSuuuwRCZp_v", "spotify-playlist-link": "https://open.spotify.com/playlist/7sjvOsBNpwyO2WPx26T6ig?si=wCiey7pER-OVopxEWQnySQ", "name_zh": "新世纪音乐" }, "dtp09": { "name": "AMBIENT HOUSE / CHILL-OUT
氛围浩室 / 放松音乐", "year": "1989", "supergenre-first-tag": "DOWNTEMPO", "supergenre-second-tag": [ "slave", "(house)" ], "description": "
在缓拍音乐（Downtempo）漫长而探索性的旅程之后，舞曲（早期浩室 House）与氛围音乐（Ambient）的不令人惊讶的融合成为事实。更重要的是，它标志着一个转折点：缓拍音乐的新时代，许多类型的舞曲将被翻新为氛围流派。确实，在氛围浩室（Ambient House）之后，氛围高科技舞曲（Ambient Techno）和氛围迷幻舞曲（Ambient Trance）出现了。在这个时代，电子声音的解放达到了高潮。\n\n声音不再受节奏、形式、（非）结构、旋律或歌词的约束，而是音乐的面孔：引力中心点。氛围浩室不是为了跳舞，但也不是为了消失在背景中。它是一个自然、有机的音景，非常适合放松区或俱乐部酒吧，因此得名Chill-Out（放松）。在这些区域，舞池难民通常在凌晨逗留，以应对摇头丸的残酷消退效应：受创的心灵寻求感觉，过度疲劳的身体疼痛但无法休息。氛围浩室以音乐通感带来安慰：温柔的、有触感的声音感性地触摸心灵，迷人的旋律按摩揉碎的肌肉，而稳定的（从属的）浩室节拍提供了仅维持稍久的基本能量。代表艺人包括The Orb、The KLF（Chill Out专辑）、Aphex Twin（Selected Ambient Works）、Global Communication以及Biosphere。
After a long and explorative journey of Downtempo music, the unsurprising fusion of Dance (early House at first) and Ambient was a fact. More so, it marked a turning point: a new era of Downtempo, where many types of Dance would be refurbished as an ambient genre. Indeed, after Ambient House, Ambient Techno and Ambient Trance emerged. In this era, the liberation of electronic sound reached its climax. No longer would sound be subject to rhythm, form, (non-)structure, melody or lyrics, but the face of the music: the gravitational center point. Ambient House is not meant to dance to, but neither to fade away into the background. It’s a natural, organic soundscape ideal for chill-out zones or club bars, hence its alias Chill-Out. In these zones, dancefloor refugees usually hung out in the early hours to deal with XTC’s harsh comedown effects: the detrimented mind in search for sensation and the hyperfatigued body aching but unable to rest. Ambient House brought solace as musical synesthesia: gentle, tactile sounds sensually touching the mind and mesmerizing melodies massaging mashed muscles, while a steady (subordinate) House beat provides the basic energy to sustain just a little while longer (though sometimes breakbeats are added). During the nineties, Chill-Out rapidly reached a fan base outside its druggy proving grounds, and received a wider definition encompassing all electronic easy-listening music (such as Nu Jazz, Trip hop, Broken Beats, Electronic New Age, Nu Lounge…).
", "songlist": [ "The Orb - Little Fluffy Clouds (Original Mix) (1990)", "Make It Rain", "808 State - Pacific State", "The Future Sound Of London - Papua New Guinea HD (Offical Video)", "Baby Interphase", "Orbital - Halcyon On and On [HQ]", "These Waves", "Ulrich Schnauss - A Million Miles Away", "William Orbit - Water From A Vine Leaf" ], "playlistID": "PLb15rbk6I4pP3zg6DOMgJpjrI_S2a7eGk", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP3zg6DOMgJpjrI_S2a7eGk", "spotify-playlist-link": "https://open.spotify.com/playlist/5jUVByZe5jr2RNDLVhvCMY?si=hjJMOErXT-ats8NriL3wEw", "name_zh": "氛围浩室 / 放松音乐" }, "dtp11": { "name": "AMBIENT BREAKS & ILLBIENT
氛围碎拍 & 病态氛围", "year": "1995", "supergenre-first-tag": "DOWNTEMPO", "supergenre-second-tag": [ "master", "BREAKBEAT" ], "description": "
由神游嘻哈（Trip Hop）开创的放慢碎拍/说唱（Breakbeat/Rap）的强大想法导致了更多类似的实验：氛围碎拍（Ambient Breaks），以Illbient为最偏离和最值得注意的例子。碎拍的实验和创新本质与缓拍音乐（Downtempo）的协同作用，产生了一种高度迷人的电子音乐流派。Ambient Breaks经常跨界到爵士乐，称为Jazz Breaks。Ninja Tune Records主要负责通过其传奇的Jazz Brakes合辑传播该流派，后来用各种类型的Ambient Breakbeat。\n\nAmbient Breaks与Trip Hop不同（尽管有时差异很小），因为它不是嘻哈音乐；它是电子音乐制作人使用各种采样的作品，而非一个连接遥远亚文化成为一的运动。当Trip Hop到达美国（特别是纽约）时，概念艺术家受到声音启发，但从另一个方向工作：他们在彼此之上铺设多层回响氛围声音（受Dub影响），然后添加碎拍。这些音景通常是折衷的噪音景观：黑暗、实验性的，并从不同流派中汲取以创造某种深奥神秘的力量。Illbient代表了一种更深沉、更黑暗、更不祥的Ambient Breaks形式。代表艺人包括DJ Spooky（Illbient）、Amon Tobin、Flying Lotus（早期）、Bonobo（早期）以及Cinematic Orchestra。
The powerful idea of slowed down Breakbeat/Rap pioneered by Trip Hop, led to more similar experiments: Ambient Breaks, with Illbient as the most deviant and noteworthy example. The experimental and innovative nature of Breakbeat synergizes with that of Downtempo, resulting in a highly fascinating electronic music genre. Ambient Breaks often crosses over to Jazz, which is called Jazz Breaks. Ninja Tune Records was principally responsible for spreading the genre with its legendary Jazz Brakes compilations and later with all kinds of Ambient Breakbeat. Ambient Breaks differs from Trip Hop (albeit sometimes minimally) as it is not Hip Hop music; it is the work of electronic music producers using various samples instead of a movement bridging remote subcultures into one.

When Trip Hop arrived in the US (specifically New York), conceptual artists got inspired by the sound but worked the other way around: they laid multiple layers of echoing ambient sounds on top of each other (influenced by Dub) and then added a breakbeat. These soundscapes are often eclectic noisescapes: dark, experimental, and drawing from different genres to create some sort of deep mysterious force. Illbient (= Ill Ambient, in its slang meaning: “this beat is ill”) is not drug music as one might suspect, but an artsy, contemplative soundtrack for an unwritten creepy or deeply psychological film.
", "songlist": [ "Moby - Porcelain", "Apollo 440 - Electro Glide In Blue", "Nightmares on Wax - You Wish", "Coldcut & Hexstatic - Timber", "Hexstatic - 'Ninja Tune'", "Blue Boy - Remember Me (Official Video)", "Bentley Rhythym Ace - Bentley's Gonna Sort You Out", "Utah Saints - B777", "Teargas and Plateglass - Arkhangelsk", "DJ Spooky - Anansi Abstrakt", "Chemical Noir" ], "playlistID": "PLb15rbk6I4pM8CBvIW4Rcw3Abj3Ee4Akc", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pM8CBvIW4Rcw3Abj3Ee4Akc", "spotify-playlist-link": "https://open.spotify.com/playlist/5xAXlH2Oy25Nlzhp3Feu46?si=KV8-n4rEQU2jhv5ZeAF69A", "name_zh": "氛围碎拍 & 病态氛围" }, "dtp12": { "name": "GLITCH / CLICKS ‘N’ CUTS
故障音乐 / 点击切割", "year": "1998", "supergenre-first-tag": "DOWNTEMPO", "description": "
Glitch是任何事物都可以是音乐，且可能几乎任何流派已经存在的另一个例子。受到损坏光盘的噼啪声和滑跳声（CD-glitches）启发，德国和英国的一些DJ和声音制作人着手创作由故障组成的整首歌曲，仿佛歌曲坏掉了。除了glitches，经常使用的技术包括添加众所周知的坏盘点击声和跳过部分音轨（激光跳跃），这些被简单地称为cuts。因此Glitch的同义词名称：Clicks 'n' Cuts。\n\n尽管光盘越来越少地成为音乐产业的支柱，意外错误噪音拼贴的概念仍对电子音乐产生了强烈影响，可以被视为具体音乐（Musique Concrète）的第三波，且可以说是最真实、最具体的一波。Glitch不仅仅是一个跳出框框的实验——该流派象征着失败的艺术，并引发关于歌曲是否应该被控制和预定的哲学问题。对应的艺术作品是高度概念化的，几乎本身就是一个艺术展览，进一步加强了Glitch的形而上学维度。纯Glitch是一个不太知名的流派，受更重、更具攻击性的Noise Music影响，导致Glitchcore。代表艺人包括Oval、Alva Noto、Ryoji Ikeda、Pole以及Fennesz。
Glitch is another example of the fact that anything can be music and probably almost any genre already exists. Inspired by the cracking and skittering sound of broken compact discs (“CD-glitches”), some DJ’s and sound producers in Germany and the UK went ahead to compose entire songs of faults, as if the songs were broken. Alongside glitches, often used techniques involve addition of the well-known broken disc “clicking sound” and skipping part of the track (laser jumping), which is simply referred to as “cuts”. Hence Glitch’s synonym name: Clicks ‘n’ Cuts. Although compact discs became less and less the staple of the music industry, the concept of a collage of unexpected error noises remained a strong influence on electronic music and could be seen as the third and arguably most real, most concrete wave of Musique Concrète. Glitch is more than just an out-of-the-box experiment – the genre symbolizes the art of failure, and raises philosophical questions about whether a song should be controlled and predetermined. The corresponding artwork is highly conceptual and almost an art exhibition on its own, further strengthening Glitch’s metaphysical dimension. Pure Glitch is a lesser familiar genre, but its fusions with other super-genres (Glitch Hop, Glitch House) are more common.
", "songlist": [ "alva noto . uni acronym (feat. anne-james chaton)", "Aero Deck", "Fermi", "Ryoji Ikeda - Data.Microhelix", "Peter Rehberg - Black Holes", "Kit Clayton - Nele", "Sinecore - Panacea" ], "playlistID": "PLb15rbk6I4pMWNtPz4dBkWn89DUb9_epB", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMWNtPz4dBkWn89DUb9_epB", "spotify-playlist-link": "https://open.spotify.com/playlist/6cDv8qk5zEffkB9nJWcKDF?si=LA4vIWj2Tp-vWtPmvcfDCQ", "name_zh": "故障音乐 / 点击切割" }, "dtp13": { "name": "DIGITAL MINIMALISM / LOWERCASE
数字极简主义 / 小写音乐", "year": "2003", "supergenre-first-tag": "DOWNTEMPO", "description": "
缓拍音乐（Downtempo）历史的最后几章之一标志着重型实验的回归，在一个或多或少可预测的、流行的氛围舞曲时代之后。一如既往受到崇敬的极简主义者启发，一波新的极简主义者出现了，比以往更极端。这次的激进概念是创造静默而非音乐（而不是实际创造静默，那将不会呈现任何挑战）。在冗长的歌曲中，长段落的静默被非常安静的声音所突出。\n\n不是为了打破形式性，而是为了通过严重处理的声音（这次是数字化的）增强对比，这些声音将从静默的深渊中跳出，让听众措手不及。这些可以是氛围声音，像Steve Roden折叠纸张的实验，或是某种诡异的事物。正如光不能没有阴影存在，这些声音使静默的意识成为可能。Lowercase的歌曲名称与其曲目长度的结合暴露了其激进的信念，如The Ant Moves the […] Carcass a Little Closer，持续超过25分钟。我们这里拥有的，无疑是所有音乐流派中最不突出的，并被恰当地命名为Lowercase（实际上不应大写）。代表艺人包括Steve Roden、Bernhard Günter、Richard Chartier、John Hudak以及Francisco López。
One of the final chapters in the history of Downtempo music marks a return to heavy experimentation, after an era of more or less predictable, popular Ambient Dance. As always inspired by the revered minimalists, a new wave of minimalists emerged, more extreme than before. The radical concept this time was to create silence instead of music (without actually creating silence, which wouldn’t present any challenge). In lengthy songs, long passages of silences are being highlighted by very quiet sounds. Not to break formality, but to enhance the contrast by heavily manipulated sounds (digitally this time) that would leap out of the silent abyss and catch the listener unaware. These can be ambient sounds, like Steve Roden’s experiments with folding paper, or something uncanny. Just like light cannot exist without shadows, so enable these sounds the awareness of silence. The combination of Lowercase’s song names with their track lengths exposes its radical concept, like “The Ant Moves the […] Carcass a Little Closer”, which lasts over 25 minutes. What we have here then, is without a doubt the least prominent of all music genres, and fittingly coined “Lowercase” (which actually shouldn’t be capitalized, something Glitch artists often do as well). Many Lowercase artists also create Glitch music and like to switch between styles to stay fresh and unexpected. Lowercase is music that is there and isn’t: it exists momentarily, illustrating the almost century-long struggle of electronic composers to make music a living thing.
", "songlist": [ "Nulldrift (Pulsar Atomization Mix)", "Bernhard Günter - untitled I⧸92", "Forms of Paper (Remastered)", "richard chartier - silver", "Tetsu Inoue - Ambiant Otaku", "Daniel Menche - Body Melt II", "Vladislav Delay - Pietola", "Microstoria - Sleepy People (Official Music Video)", "1) Taylor Deupree - Shoals" ], "playlistID": "PLb15rbk6I4pMnJ9O_D2ebx23O3eViy8Z6", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMnJ9O_D2ebx23O3eViy8Z6", "spotify-playlist-link": "https://open.spotify.com/playlist/2V4vPYsd1iLQ0yfebWLWC3?si=-gWqkA0URvaLEPux2XiILQ", "name_zh": "数字极简主义 / 小写音乐" }, "dtp14": { "name": "SYNTHWAVE & VAPORWAVE
合成波 & 蒸汽波", "year": "2012", "supergenre-first-tag": "DOWNTEMPO", "description": "
在摇晃的、切分的碎拍、超折衷的电子流行（Electropop）和无法定义的女巫浩室（Witch House）之中，一座熟悉的灯塔（有人可能说是俗气）出现了。一波八十年代中期怀旧——比以往任何时候都更重——创造了一种在流行音乐世界中无与伦比的逃避主义，并拥有指数级增长的未知互联网艺术家数量。\n\n一方面，有合成波（Synthwave）：对晦涩短暂存在的暗合成（Darksynth）的复兴，它不回避任何陈词滥调：该流派融入了紫色和粉色霓虹灯、跑车、迈阿密棕榈树、八十年代卡通、恐怖科幻和复古未来主义的艺术。Synthwave又名New Retro Wave，是一台时间机器回到（迈阿密）1984年，使用同时代的相同合成器和旋律，制作同一种带有水晶般清晰、共鸣声音的器乐Synth音乐。另一方面，有蒸汽波（Vaporwave）：新迪斯科（Nu-Disco）和寒潮（Chillwave）的混合物，可以描述为复古未来主义的Easy-Listening。它也深深嵌入类似的复古风格八十年代艺术，但有更多来自九十年代游戏/网页/卡通设计的元素。Vaporwave在日本特别流行，但像许多近期流派一样，更多是国际互联网文化的一部分。代表艺人包括Kavinsky、Miami Nights 1984、Carpenter Brut（Synthwave）；Macintosh Plus（Vektroid）、Saint Pepsi、2814（Vaporwave）。
In the midst of wonky, syncopated breakbeats, hyper-eclectic Electropop and indefinable Witch House, a beacon of familiarity (and some might say cheesiness) emerges. A swoop of mid eighties nostalgia – heavier than ever before – creates an escapism unparalleled in the world of popular music and with an exponentially growing amount of unknown internet artists.

On one hand, there is Synthwave: a revival of the obscure short-lived Darksynth that shies no cliché: the genre is integrated in an artwork of purple and pink neon, sport cars, Miami palm trees, 80’s cartoons, horror sci-fi and retro-futurism. Synthwave aka New Retro Wave is a timemachine to (Miami) 1984, with the same synthesizers and melodies from that era, producing the same kind of instrumental Synth music with crystal clear, resonating sounds.

On the other hand there is Vaporwave: a mixture of Nu-Disco and Chillwave that can be described as retro-futuristic Easy-Listening. It is also deeply embedded in similar retro-styled eighties artwork, but with more elements from nineties game/web/cartoon design. Vaporwave is especially popular in Japan, but like many recent genres, more part of an international internet culture (Synthwave as well) than a regional scene. Even more so, Vaporwave can be credited with the only metaphysically reactionary genre of the last decades: connotations of mass-consumerism and capitalistic technology spring automatically forth out of the eighties synth melodies, but get a satirical overhaul by sound manipulation (compression and slow-motion) inspired by early Muzak to create a corporate office/shopping mall background aesthetic. These sounds can either have a (Nu-)Disco, (Smooth) Jazz or (Electro-)Pop origin to further strengthen its parody on commercialism, just like the brand-based artist names. Many Vaporwave artists dwell in anonymity, and release unknown (often illegally sampled) music onto the masses, spurring the debate about music integrity and artist liberation versus intellectual property.
", "songlist": [ "Kavinsky - Nightcall (Drive Original Movie Soundtrack) (Official Audio)", "Lazerhawk - Overdrive", "Perturbator - Technoir (feat. Noir Deco)", "Miami Nights 1984 - Ocean Drive", "Dynatron - Stars of the Night", "Quixotic - Palms (Official Music Video)", "Vektroid - Neo Cali (from ＂Neo Cali＂, 2011) (Official Track Upload)", "James Ferraro - Palm Trees, Wi-Fi and Dream Sushi", "Internet Club - WWW CRUISE (MV)", "SAINT PEPSI - ENJOY YOURSELF (Music Video REUPLOAD)", "Chuck Person - Too Little, Too Late", "MACINTOSH PLUS - リサフランク420 ⧸ 現代のコンピュー ｜(reupload)" ], "playlistID": "PLb15rbk6I4pOLd7syIBN8JGEnh2jduFUR", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pOLd7syIBN8JGEnh2jduFUR", "spotify-playlist-link": "https://open.spotify.com/playlist/1Efg2Nx30DjywZbaYOmyOR?si=hX2KS-7LSq22uIE8zLkEqA", "name_zh": "合成波 & 蒸汽波" }, "inr01": { "name": "KRAUTROCK
德国泡菜摇滚 / 宇宙音乐", "year": "1970", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "master", "GOLDEN AGE" ], "description": "
二战后，德国文化——尤其是音乐——在寻求一种新的身份认同。一群德国乐队决心创造最具原创性和革新精神的音乐，从实验性的前卫摇滚团体中汲取灵感。当第一批商用合成器问世时，他们率先以各种方式利用这些设备，将电子音乐推向大众。结果是前卫摇滚，但带有电子影响，建立在一种被称为Motorik（摩托节奏）的重复性、机械化声音之上。Motorik因完全摒弃原声元素而赋予泡菜摇滚一种冷峻的声音质感，引入了缓慢的歌曲推进方式——让人联想到极简主义与前卫缓拍音乐。德国乐队同样欢迎迷幻乐的影响，共享对实验的热爱。Krautrock实际是英国媒体的贬称，在德国更恰当地被称为宇宙摇滚（Kosmischen Rock）。凭神话般、晦涩的乐队名称，泡菜摇滚构成了太空摇滚的完美前奏，最终演变为石人摇滚。

然而，Kraftwerk选择了更激进的路线，完全摒弃摇滚影响，创作了第一批具有可辨识结构、旋律和低音的全电子音乐。Kraftwerk可以说是流行音乐史上最具革命性的艺术家，泡菜摇滚因此成为最具影响力的流派之一，架起了摇滚与舞曲之间的桥梁。
In the period ensuing World War II, German culture and especially music had been looking for a new identity. Determined to create the most original, innovative and unique music ever invented, a handful of German bands got to work, drawing influences from almost equally experimental Progressive Rock groups. When the first commercial synthesizers were released, they were the vanguard to exploit them in any way imaginable and thus releasing electronic music onto the masses. Typically German, the result was Prog Rock, but with electronic influences and based on a repetitive and mechanical sound called “Motorik”. Motorik gave Krautrock a sterile sound due to a complete absence of acoustic elements. By using this motorik, Krautrock introduced a slow song progression reminiscent of Minimalism and avant-garde Downtempo, instead of traditional Rock structures and solos. Influences from Psychedelia were also welcomed by German bands, with which they shared a love for experimentation. Krautrock is actually a derogatory term by the British Press. In Germany, Krautrock’s lengthy “Electro-Psy-Prog-Rock” songs were more appropriately known at the time as Cosmic (Kosmischen) Rock. With their mythological and cryptic band names, Krautrock bands formed the perfect prelude for Space Rock, which finally evolved into Stoner Rock.

One band however, chose a far more radical path than others by abandoning all Rock influences. Kraftwerk made the first completely electronic music that had recognizable structure, melody, and bass. With Kraftwerk as arguably the most revolutionary popular music artist of all time, Krautrock is one of the most influential genres, bridging the gap between Rock and Dance.
", "songlist": [ "Kraftwerk – Trans Europe Express", "Neu! – Hallogallo", "Can – Vitamin C", "Faust – So Far", "Popol Vuh – Letzte Tage, Letzte Nachte", "Cluster – Hollywood", "Amon Duül II – Surrounded by the Stars", "Ash Ra Tempel - Amboss", "Guru Guru – Der Electrolurch", "Cosmic Jokers – Galactic Joke" ], "playlistID": "PLb15rbk6I4pPqrGvdC-uVj73Yab4it0fy", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPqrGvdC-uVj73Yab4it0fy", "spotify-playlist-link": "https://open.spotify.com/playlist/28y4il7VffgyPuUbAIve0i?si=oEownVfOSG6Fb1XuKy8L6w" }, "inr02": { "name": "(AVANT-GARDE) INDUSTRIAL
先锋工业", "year": "1975", "supergenre-first-tag": "INDUSTRIAL", "description": "
泡菜摇滚并未止步，它急剧扩张为一种独立文化，后来发展为整组音乐流派。工业音乐的第一波（早期/先锋工业）是其中最具实验性的流派。这是一个被推向极致的观念艺术场景：极权主义式的图像、令人不安的精神错乱意象和歌词，用吉他及合成器的各种技法创造重复而无序的工厂声音拼贴——工业之名由此而来。对绝大多数人而言，这种流派与难以忍受的噪音无异：音乐即酷刑。绝大多数工业音乐作品来自德国——难以估量的遗产，是泡菜摇滚伟大实验的有力证明。

早期工业深受现代主义与达达主义影响，信奉摧毁社会再重建。工业音乐反复提及建构主义、机械、工业化与世界秩序等主题：我们都是社会时钟中的齿轮。比其他任何流派都更关注哲学议题，却不给出答案——只有一种前所未有的震撼疗法。
Krautrock didn’t stop. It changed and expanded drastically into an independent culture, later to become a whole group of music genres. However, the first wave of Industrial (or Early / Avant-Garde Industrial) is by far the most experimental genre. A conceptual artist scene taken to the extreme, where eager avant-gardists tried to be as provocative as possible: totalitarian iconography/cover art, disturbing /psychotic imagery and lyrics, and using every trick in the guitar and synth book to create a repetitive but incoherent collage of factory sounds (hence industrial) with distorted and false mumbling and minimalistic melodies. Even (Free) Jazz becomes an inspiration if it helps upscale Industrial’s perturbation. This is a genre that would sound no different than unbearable, psychotic noise for the vast majority of people: music as torture. The overwhelming majority of Industrial music (as a super-genre) comes from Germany: an unfathomable legacy of and a powerful testament to the grand experiment of Krautrock.

Early Industrial draws heavily on influences from Modernism and Dadaïsm, believing in tearing down society and building it up again. Industrial likes to refer to recurring themes of constructivism, machinery, industrialization, and world order: we are all gears in the clockwork of society. More than any other music genre, Industrial seeks out the bigger philosophical issues, yet does not delivers answers - only a shock treatment the likes one has never heard.
", "songlist": [ "Cabaret Voltaire – Nag Nag Nag", "Clock DVA – Beautiful Losers", "SPK – Cultures in Decay", "Einstürzende Neubauten – Kollaps", "23 Skidoo – Gregouka", "Test Department – Total State Machine", "Savage Republic – Next to Nothing", "Monte Cazazza – The Womb is a Happening Thing", "Z’EV – z = [Es+E3]" ], "playlistID": "PLb15rbk6I4pMrFaY7z_P5D1NLki5P-yYt", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMrFaY7z_P5D1NLki5P-yYt", "spotify-playlist-link": "https://open.spotify.com/playlist/5oHweesrPodHwJWOtiXcx6?si=eTZTvA4EQcm5acaMcC5OJw" }, "inr03": { "name": "GOTHIC ROCK & DEATHROCK
哥特摇滚 & 死亡摇滚", "year": "1979", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(punk/wave)" ], "description": "
认识到朋克摇滚不会改变世界，少数后朋克团体转向更压抑、虚无主义的声音。这是一次糟糕的迷幻之旅，可称为暗黑酸性朋克摇滚。哥特摇滚的先驱们只是试图创造适合绝望时代的独特摇滚之声，却催生了著名的亚文化：哥特。与暗黑艺术、忧郁诗歌、夜行主题和黑色紧密相连，哥特尽可能不快乐和绝望。19世纪的暗黑浪漫故事——如爱伦·坡作品——对哥特摇滚影响巨大。从音乐中演化的哥特亚文化推动新艺术家走向更电子化、更阴险的方向，最终走向暗潮。

伦敦后朋克场景同期发展出非常相似的流派，但更侧重死亡与恐怖：死亡摇滚。Bat Cave俱乐部是这些新艺术家的主要基地，他们如朋克吸血鬼般在黑夜中苏醒。
The realization that Punk Rock didn’t change the world and never would, pushed a small number of Post-Punk groups towards a more depressing, nihilistic sound. It was a bad trip of edgy Rock ‘n’ Roll one could call dark acid punk rock, with a touch of industrial. While Gothic Rock (sometimes known as Dark Punk) pioneers simply tried to create a unique rock sound fitting for the age of despair and economic crisis, the music inspired a well-known, broader subculture: Goth. Strongly tied to dark art, melancholic poetry or literature, nocturnal themes and the color black, Goth is as unhappy and despairing as possible. Especially dark romantic tales from the 19th century such as the works of Edgar Allan Poe, were a big influence on Gothic Rock. The subculture of Goth evolving out of the music (but not the artists themselves) would influence new Gothic artists into becoming more electronic and sinister, leading to Darkwave.

The London Post-Punk scene developed around the same time a very similar genre, but with more themes from death and the macabre: Death Rock. The Bat Cave club in London was the primary operating base for these new artists, awakening in the night as Punk vampires.
", "songlist": [ "Bauhaus – Bela Lugosi’s Dead", "The Sisters of Mercy – Black Planet", "The Cure – A Forest", "Siouxsie and the Banshees – Cities in Dust", "45 Grave – Phantoms", "Southern Death Cult – Fatman", "Kommunity FK – Something Inside Me Has Died", "Sex Gang Children – Mauritia Mayer", "Theatre of Hate – Do You Believe in the Westworld?" ], "playlistID": "PLb15rbk6I4pNq8sh3mKZ6_e3Ln0qp9V5Z", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNq8sh3mKZ6_e3Ln0qp9V5Z", "spotify-playlist-link": "https://open.spotify.com/playlist/0fguWOg4ixe4zMpcbDFXl9?si=oBYgIbEhSsCLHR_Jf65H5g" }, "inr04": { "name": "ELECTRONIC BODY MUSIC (EBM)
电子身体音乐", "year": "1982", "supergenre-first-tag": "INDUSTRIAL", "description": "
音乐。没有。情感。句号。比工业音乐更机械、更电子化、更重复，但没有噪音和艺术执念。这近乎是带有机器人式攻击性的军乐。凭借猛烈打击节拍，EBM制造了电子舞曲的第一个原型。EBM全称Electronic Body Music，也称工业舞曲，是第一个产生可理解人声（尽管非常无调）的工业流派，使其比同类流派更易接受。暗黑、单调的节拍声成为其他舞曲流派的重要影响来源——浩室和科技舞曲尚未诞生。EBM还与合成器流行相互影响，因为它们是八十年代早期仅有的数字流派。即使在浩室和科技舞曲全面扩张后，EBM仍是重要而独特的流派；尤其在德国，它逐渐消退但深刻地影响了整个工业音乐。
Music. Without. Emotions. Full Stop. More mechanical, more electronic and more repetitive than industrial, but without the noise and arty obsession for the bizarre. This is almost military music with a sort of robotic aggression. With hard striking and kicking beats, EBM manufactured the first prototype for Electronic Dance Music. EBM, short for Electronic Body Music and also known as Industrial Dance, was the first industrial genre to produce some sort of vocals (though very atonal) that could actually be understood or made any sense, which made it far more accessible than its counterpart genres (Gothic Rock was not bound to Industrial culture yet at that time). The dark, monotonous beating sound became an important influence on other dance genres and artists, since House and Techno weren’t invented yet. This was especially true for that other Belgian phenomenon: New Beat. EBM also influenced Synthpop and the other way around because these were the only true digital genres in the early eighties (though they came from very different paths). Even after the full-blown European expansion of House and Techno, EBM remained an important and distinctive genre; especially in Germany where it gradually faded but not without influencing the whole of Industrial music.
", "songlist": [ "Front 242 – Body to Body", "D.A.F. – Der Mussolini", "Liaisons Dangereuses – Los Niños del Parque", "Laibach – Tanz Mit Laibach", "The Neon Judgement – The Fashion Party", "Bigod 20 – The Bog", "Skinny Puppy – Dig It", "Covenant – Go Film", "And One – Technoman" ], "playlistID": "PLb15rbk6I4pMfB8yPHhHwAaHuHkj9D8pU", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pMfB8yPHhHwAaHuHkj9D8pU", "spotify-playlist-link": "https://open.spotify.com/playlist/10TDBTnCInZodr0rcVukt2?si=n2ab9LSmS3-1xkd7JImiwQ" }, "inr05": { "name": "NOISE MUSIC
噪音音乐", "year": "1982", "supergenre-first-tag": "INDUSTRIAL", "description": "
噪音音乐是一个宽泛的流派名称，此处仅指八十年代早期兴起的工业音乐独立分支。当时工业圈转向更舞曲化的方向，而相反的方向——以任何方式制造纯粹噪音——带来了持续至今的后工业浪潮。

子流派数量惊人：强力电子、死亡工业、实验工业、科技噪音、强力噪音、鼓打噪音、日本噪音等。日本噪音或噪音核——可以说最重要的子流派——使用极其尖锐刺耳的声音，而非德国工业更深沉的音色。

噪音音乐与最嘈杂的流派紧密相连：碎核、数字硬核、IDM、噪音摇滚与流行、以及鹿特丹硬核。正是这种对无人喜欢的音乐的追求——作为主流的宿敌——证明了音乐流派趋于饱和。
Noise Music can be an incredibly broad genre name, incorporating any kind of music that harbors some sort of noise. Here it is only used as the so called “Noise Music Scene” which is a separate school of Industrial music emerging in the early eighties. At this point the Industrial scene was taking a more dance oriented approach, with both EBM and Electronic Industrial (Proto-Aggreppo) emerging as either more repetitive or melodic evolutions. The opposite direction – strictly noise, by any means possible – brought forth a Post-Industrial wave of noise-related subgenres lasting until the present.

The amount of subgenres, barely discernable for the untrained listener, is stupefying: Power Electronics, Death Industrial, Experimental Industrial, Technoid, Power Noise, Drum ‘n’ Noise, Japanese Noise, and more. Japanoise, J-Noise, Harsh Noise or Noisecore (arguably the most important subgenre) started as a vague umbrella term for anything noise related from Japan but gradually formed into a defined genre with its own subculture. Noisecore employs extremely sharp and harsh sounds, instead of the deeper and the more subtle tones of German Industrial.

Noise Music obviously has strong ties with the noisiest music genres: Breakcore, Digital Hardcore, IDM, Noise Rock & Pop, and Gabber. It is this quest for music that no-one might like, as a nemesis of mainstream, that gives testimony to the saturation of possible music genres.
", "songlist": [ "The New Blockaders – Manifesto", "The Grey Wolves – Red Terror", "Winterkälte – Incinerator", "Imminent Starvation – Lost Highway 45", "Merzbow – Requiem", "Masonna – Eat Maggot", "Incapacitants - Apoptosis", "Hanatarash - 1969" ], "playlistID": "PLb15rbk6I4pP6aIgZ37G1xqE1g7H8r4Wj", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pP6aIgZ37G1xqE1g7H8r4Wj", "spotify-playlist-link": "https://open.spotify.com/playlist/2ZlpBNwzIna5dWRODH3wjs?si=anrVvMlGRx-FEVozBd1LCA" }, "inr06": { "name": "DARK AMBIENT / DARK INDUSTRIAL
黑暗氛围 / 黑暗工业", "year": "1984", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "master", "DOWNTEMPO" ], "description": "
让人想起施托克豪森的《少年之歌》，暗黑工业可呈现冗长的作品（有的超过20分钟）。几乎无法将暗黑工业与暗黑氛围（又名隔离主义）和氛围工业分开——都包含着同样诡异的氛围，有时美丽但往往令人恐惧和不安。极简音景以工业音效复活，萦绕而阴郁的声音构成前景，背景中流淌着严重失真的噪音。与早期工业的区别在于更氛围/气氛化的手法。暗黑氛围是典型的夜晚墓园配乐，难怪常用于恐怖电影或游戏配乐。八十年代末衍生出重要子流派：空灵暗潮或新古典浪潮。空灵浪潮在法国大放异彩，诡异的法语低吟叠加在融入暗黑氛围元素的夸张古典音乐之上。结果是终极的哥特音乐。
Reminiscent of Karlheinz Stockhausen’s epic “Gesang Der Jünglinge”, Dark Industrial can deliver lengthy compositions (some over 20 minutes long). It’s nigh impossible to separate Dark Industrial from related genres Dark Ambient (aka Isolationism) and Ambient Industrial as they all consist of the same eerie atmosphere; sometimes beautiful but often downright frightening and disturbing. A minimal soundscape of the past resurrected with typical industrial sound effects and techniques, in which haunting and gloomy sounds (often repetitive in nature) form the foreground. In the background one regularly finds a stream of heavily distorted noise. The difference with Early Industrial lies in a less noisy/experimental approach and a more ambient/atmospheric one. Dark Ambient is your typical graveyard ruin by night soundtrack, or the sound of a monochrome forest echoing through a picture from the past. It’s no surprise that this genre is often used in horror films or scary game soundtracks. Out of Dark Ambient an important subgenre in the late eighties arises: Ethereal (Dark)wave or Neoclassical Wave. Ethereal Wave becomes a big thing in France, where spooky French hushes or weeping voices are added on top of melodramatic classical music infused with Dark Ambient elements. The result is the ultimate Gothic music and a further strengthening of its relationship with Industrial.
", "songlist": [ "Nurse With Wound – Futurismo", "Lustmord – Zoetrope", ":Zoviet*France - Pearroc", "Autopsia – Welt Ist Won Erz", "Gruntsplatter – Where the Fearful Eat Their Young", "Arcana – Angel of Sorrow", "This Mortal Coil – Filigree & Shadow", "Elend – The Reign of Chaos and Old Night" ], "playlistID": "PLb15rbk6I4pPa4ovFMbo-Z_p9JotbPoNC", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPa4ovFMbo-Z_p9JotbPoNC", "spotify-playlist-link": "https://open.spotify.com/playlist/1jvW8rSm9IFzv14k7xbeLu?si=_KOG43b-TD2a-q_DLePsEg" }, "inr07": { "name": "DARKWAVE & COLDWAVE
暗潮 & 冷潮", "year": "1985", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(punk/wave)" ], "description": "
早期哥特摇滚先驱之后，哥特运动继承遗产，创作更暗黑、更忧郁的音乐，以萦绕的合成器旋律、鼓机和后朋克吉他riff为特征。内向的歌词涉及哥特主题。这种更暗黑的新浪潮被称为暗潮，作为哥特摇滚的第二波在德国兴起，与合成器流行融合后变得更加电子化。

冷潮的故事更复杂。对美国媒体而言，冷潮是非常重型、基于吉他的暗潮，是工业金属的前身。在欧洲（尤其是法国），冷潮被视为一种极简、哥特式的合成器流行。我们采用后者，有时也被称为合成器核。

暗潮和冷潮涵盖从八十年代末至今的所有哥特音乐，与电子工业和工业摇滚构成地下而不朽的工业亚文化音乐三位一体。
After the heydays of the few early Gothic Rock pioneers, the Gothic movement took their legacy and started creating darker, more melancholic music with haunting synth melodies, drum machines, and Post-Punk guitar riffs. The introvert lyrics were typically about Gothic (romantic) topics. This darker form of New Wave (usually it was more Post-Punk than New Wave) was called Darkwave. Darkwave emerged in Germany as a second wave of Gothic Rock. It merged with Synthpop, and thus became much more electronic.

Coldwave on the other hand, is a much more complex story. To the American press, Coldwave is very heavy, guitar based Darkwave and a predecessor of Industrial Metal (such as bands Chemlab, Hate Department or 16 Volt). In Europe (especially in France) Coldwave is known as a minimal, Gothic type of Synthpop. We will use the latter definition, which might sometimes be labeled as Synthcore, though you should not confuse this with the other (Hardcore) Synthcore.

Darkwave and Coldwave encompass all Goth music from the late eighties until present. Together with Electro-Industrial and Industrial Rock it would form a musical trinity as the music of choice for the underground but undying industrial subculture.
", "songlist": [ "The Fields of the Nephilim – Laura", "The Crüxshadows - Deception", "The Mission – Deliverance", "Deine Lakaien – Dark Star", "Red Lorry Yellow Lorry – Talk About the Weather", "Clan of Xymox – Something Wrong", "Gene Loves Jezebel – Heartache", "Girls Under Glass – Down in the Park", "Parade Ground – Moans", "The Frozen Autumn – Is Everything Real?" ], "playlistID": "PLb15rbk6I4pPibM9OuHSOphXXs_RevDuj", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pPibM9OuHSOphXXs_RevDuj", "spotify-playlist-link": "https://open.spotify.com/playlist/6AdzP5CQ8ojDJV1dAss6nv?si=hKdRu07xQRm0pqBaxyyftA" }, "inr08": { "name": "INDUSTRIAL ROCK / INDUSTRIAL METAL
工业摇滚 / 工业金属", "year": "1989", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(metal)" ], "description": "
一堵电子放大至极限的硬摇滚/金属riff之墙，伴随愤怒的抗议歌手——天生就是国家之敌。这就是工业摇滚/金属：本质上如此响亮和不妥协，使得两者实际无区别（尽管有人不同意），也让你意识到硬摇滚真的没那么硬。摇滚与工业的融合通过泡菜摇滚天然相连。

第一波工业金属如Ministry和Godflesh更偏向摇滚，以超重嗡鸣riff和对混乱的偏好为特征。后来的乐队注重戏剧性和视觉美学（服装、录影带、奢华演出），改变了声音。工业金属演变为更电子化和驱动性的声音，使用音序器和更多合成器。在德国，新德意志硬派（Neue Deutsche Harte）以其坚忍外表和精良制作出现。这些乐队将工业音乐带入主流，主流厂牌超级明星填满体育场——因为很多人渴望最重的音乐但带有额外的合成器触感。
A wall of electronically amplified Hard Rock / Metal riffs (to the maximum) blows you away with angry protesting singers that were born to be enemy of the state. This is Industrial Rock/Metal: a music style that’s so loud and uncompromising in its own nature that there actually is no difference between Industrial Rock and Metal (though some would disagree), and that makes you realize that Hard Rock really isn’t that hard. The fusion of Rock and Industrial was bound to happen, as both always were closely related to each other via Krautrock.

The first wave of Industrial Metal bands such as Ministry and Godflesh, was more oriented towards Rock than electronic music, and featured ultraheavy droning riffs alongside an affinity towards chaos/noise. A number of later bands, who also focused on the theatrics of their performance and visual aesthetics (costumes, video clips, extravagant shows) changed that sound. Industrial Metal (aka Aggro-Industrial) evolved into a more electronic and driven sound, with use of sequencers and more synth. In Germany, a specific movement known as the Neue Deutsche Härte (New German Hardness) emerged with a more stoic appearance and polished production (though still equally as loud as other Industrial Rock). These bands were responsible for familiarizing Industrial to a larger audience, yet this never seduced the artists of walking down a path of predictability and political correctness. When this new kind of music broke through, it created a small shockwave, catapulting the obscure and alternative Industrial scene into mainstream with major label superstars filling arenas. Because lots of people seemed to crave for the heaviest music possible but with that extra touch of synth.
", "songlist": [ "Nine Inch Nails – Sin", "Marilyn Manson – Rock is Dead", "Rammstein – Ich Will", "Rob Zombie – Dragula", "Ministry – Stigmata", "KMFDM – Ultra", "Gravity Kills – Enough", "Cubanate – Oxyacetylene", "Godflesh – Nihil", "Eisbrecher – Eiszeit" ], "playlistID": "PLb15rbk6I4pNk_SvqBMpJFqafjh9FCpkY", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNk_SvqBMpJFqafjh9FCpkY", "spotify-playlist-link": "https://open.spotify.com/playlist/0sAoai7mQzoE81vIrOmNKy?si=k1Jy5aTrTQyS8G4tu_5PKw" }, "inr09": { "name": "ELECTRO-INDUSTRIAL / AGGREPPO
电子工业 / 侵略性流行", "year": "1990", "supergenre-first-tag": "INDUSTRIAL", "description": "
工业第二波与第一波截然不同：不再是革命运动，而是深层地下工业夜生活的派对音乐。这是第一种真正的工业舞曲，更常被称为Aggreppo（侵略性流行）。电子工业将所有工业流派混合在电子重击节拍上，产生暗黑颂歌科技舞曲，兼具萦绕的女声和阴险的低语男声。舞池仿佛被渴望欲望的吸血鬼和令人生畏的审判官控制。施虐受虐、酷刑、束缚和色情实际上是常见主题。更深、更暗、更有层次，电子工业散发着支配与权力的气场。电子工业也开启了黑色未来主义或暗黑科幻主题，Aggreppo的别名：赛博科技舞曲。

一些艺术家将无情推向极致，在九十年代中期催生了Aggrotech（又名恐怖EBM或Hellektro）——EBM和Aggreppo的大胆组合，具有更尖锐粗砺的声音，可以说是最极端的音乐流派之一，是工业音乐创造反音乐的最佳例证。
The second wave of industrial was quite different from the first one: instead of a revolutionary movement, it was going-out music for the deep underground industrial nightlife. This was the first true Industrial Dance, though it is more commonly known as “Aggreppo” (Aggressive Pop). Electro-Industrial mixed all Industrial genres onto an electronic pounding beat, which resulted in a sort of “Dark Anthem Techno” with both haunting female vocals and sinister whispering or mumbling male vocals. Electro-Industrial makes it seem as if the dancefloor is controlled by lust-craving vampires and intimidating inquisitors. Sado-masochism, torture, bondage and pornography are in fact common themes of Electro-Industrial. Deeper, darker, and more layered than before, Electro-Industrial channels an aura of dominance and power, the universal denominator of Aggreppo. Electro Industrial also started Industrial’s common theme of “Futurism Noir” or dark sci-fi. A theme referred to by the recurring prefix “cyber”, such as Aggreppo’s alias: Cybertechno.

Some artists take the ruthlessness of the music to the extreme and combine this with atonal vocals and the pulsing rhythm of EBM. This has led in the mid-nineties to a popular subgenre: Aggrotech (aka Terror EBM or Hellektro). Aggrotech is a bold and traumatizing combination of EBM and Aggreppo with sharper and abrasive sounds. Aggrotech is arguably one of the most extreme music genres and a prime example of Industrial’s (successful) ambition to create anti-music.
", "songlist": [ "Frontline Assembly – Mindphaser", "Flesh Field – Disillusion", "Suicide Commando - Unterwelt", "Numb – Hole", "Haujobb – Solid State Logic", "Leather Strip – Strap Me Down", "Slick Idiot - Xcess", "Wynardtage – Cold Massive Blue", "Acylum – Ruthless Aggressions" ], "playlistID": "PLb15rbk6I4pNIDoBgzbfyPnoe8FQ45GaS", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pNIDoBgzbfyPnoe8FQ45GaS", "spotify-playlist-link": "https://open.spotify.com/playlist/3Rkc8gGu4kkf1TVTavwGYV?si=WE-YZveoRfWMLcYpC4mGmA" }, "inr10": { "name": "FUTUREPOP
未来流行", "year": "1999", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "slave", "(trance)" ], "description": "
未来流行可被视为电子工业的子流派或进化。虽然它是Carta上最小众的流派之一，但再次展示了工业与迷幻舞曲之间的有趣联系。未来流行就流行而言，几乎不是真正的流行。它是一种更为干净、制作更精良的电子工业类型，没有失真、恐怖人声或淫秽主题。专注于暗黑但美丽的忧郁合成器旋律和有力的合成器低音线，可以交叉到迷幻舞曲（尽管bpm较低）。未来流行与暗潮相似——前者是工业合成器流行，后者是哥特合成器流行。未来流行是任何科幻或未来主义的完美配乐：完全电子化而暗黑，但晶莹剔透。忧郁的人声涉及宏大、圣经般的主题（面向未来），标志着这是一个高度主题化的流派。
Futurepop can be seen as a subgenre of Electro-Industrial or as an evolution of it (i.e. something new). The latter is being preferred here. Although it is one of the smallest and least known genres on the Carta, Futurepop illustrates once again an interesting link between Industrial and Trance. This has happened before, when hard EBM beats found their way into the earliest forms of Goa Trance. Futurepop is as much Pop as Aggreppo is Pop, meaning it is barely true Pop at all. It is however a much cleaner, more produced type of Electro-Industrial, with no distortions, scary vocals, or obscene themes. This genre focuses on dark but beautiful melancholic synth melodies and powerful synth basslines, which can recollect and crossover to (dark) Trance (though regularly at a lower bpm). Futurepop can mirror a lot of Darkwave because the latter is Gothic Synthpop, where the former actually is Industrial Synthpop. Futurepop is the perfect soundtrack for anything sci-fi or futuristic: completely electronic and dark, but crystal clear. This is not instrumental music like Trance; equally melancholic vocals about bombastic, biblical topics (future oriented) mark this genre as a highly thematic one.
", "songlist": [ "VNV Nation – Legion", "Apoptygma Berzerk – Unicorn", "Absurd Minds – The Question", "Assemblage 23 - Horizon", "Angels and Agony – Forever", "Seabound – Castaway", "HMB – Wanted", "Mind.In.A.Box – Change" ], "playlistID": "PLb15rbk6I4pO8UKaTRG15UzpUXJqhu3uM", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO8UKaTRG15UzpUXJqhu3uM", "spotify-playlist-link": "https://open.spotify.com/playlist/3ryIuI9kjZmYdrjjP8hOzQ?si=W0HyONIQT8GXrQPzG4iYGA" }, "inr11": { "name": "MINIMAL WAVE / SYNTH & MINIMAL INDUSTRIAL (REVIVAL)
极简浪潮 / 合成器极简工业复兴", "year": "2006", "supergenre-first-tag": "INDUSTRIAL", "supergenre-second-tag": [ "master", "DOWNTEMPO" ], "description": "
这个被遗忘的子流派是嬉普士的终极融合：工业的先锋心态，在流派成为主流之前被新浪潮合成器旋律变得勉强可跳舞。

工业音乐有三波浪潮。第一波是七十年代的晦涩实验（先锋工业）。十五年后，与合成器流行、现代摇滚和哥特运动汇集成电子工业。又过十五年，在回收与不确定性的时代，需要一场纯粹、极简工业/暗潮的复兴——这种风格曾存在于八十年代早期，恰在MIDI被引入新浪潮之前（相当低保真）。极简浪潮（Minimal Wave）与冷潮和德国新浪潮密切相关——一种比平常更氛围化、更极简的德国式合成器流行。因此是一种非常暗黑而业余的合成器流行，强调现代艺术作品和概念化。正如电子冲突重燃了对合成器流行的兴趣，工业文化也重新发现了冷潮和极简浪潮。
This forgotten subgenre is the hipster’s ultimate fusion: the avant-garde mentality of industrial made (barely) danceable by New Wave synth melodies before the genre became mainstream.

There are three waves of Industrial that brought the genre as a whole to life. The first one was an obscure experiment of the seventies that would lead to many other genres (Avant-Garde Industrial). Fifteen years later, the influences of these genres alongside Synthpop, modern Rock, and the Goth movement, culminated in an all-round, perfectionized genre that would fuel the Industrial subculture for a long time (Electro-Industrial). Another fifteen years later, in the era of recycling and uncertainty, a revival of purist, minimal Industrial / Darkwave was needed, that briefly existed in the early eighties right before MIDI was introduced to New Wave (sounding quite lo-fi). Minimal Wave aka Synth Wave (not to be confused with Synthwave) is closely related to Coldwave and the Neue Deutsche Welle: a German form of Synthpop that is more ambient and minimal than usual. Minimal wave therefore is a very dark and amateur type of Synthpop, with lots of emphasis on modern artwork and conceptualization. As Electroclash returned interest in Synthpop, so rediscovered Industrial culture Coldwave and Minimal Wave and blended these genres with early Industrial sounds.
", "songlist": [ "Linear Movement – Way Out of Living", "Hard Corps – Dirty", "Turquoise Days – Grey Skies", "IKO – Approach on Tokyo", "Sickdoll – Ich bin der Schleicher", "Oppenheimer’s Analysis – The Devil’s Dancers", "Techniques Berlin - Love Via Computer" ], "playlistID": "PLb15rbk6I4pO64fTW9IoA9FDlRNyjJize", "playlist-link": "https://www.youtube.com/playlist?list=PLb15rbk6I4pO64fTW9IoA9FDlRNyjJize", "spotify-playlist-link": "https://open.spotify.com/playlist/6gpeYFfGBvvyCvgK7A9szV?si=WVoZJSvSRTO6MKVrbL-6NQ" } }