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What Alfredo did was a Paradise Garage idea relocated to an open-air club with no obligation to a single genre." }, { "kind": "lineage", "from": "genre:italo-disco", "to": "genre:balearic", "inherited": "The records themselves. Half of what filled those sets was Italian — cheap, melodic, synthetic and unfashionable everywhere else, which is precisely why Ibiza could claim it." }, { "kind": "lineage", "from": "genre:renaissance", "to": "genre:baroque", "inherited": "The counterpoint, kept, with the ground shifted underneath it. Baroque writing is Renaissance voice-leading over a continuo bass that now determines the harmony, which turns a web of equal lines into a hierarchy." }, { "kind": "lineage", "from": "genre:dancehall", "to": "genre:bleep-techno", "inherited": "The weight, and the reason it sounds British. Leeds and Sheffield had Jamaican sound systems in the same halls, and bleep is Detroit melody arranged for a rig built to shake a room." }, { "kind": "lineage", "from": "genre:detroit-techno", "to": "genre:bleep-techno", "inherited": "The palette. Yorkshire producers were buying Transmat and KMS imports and copying the clean sequenced tones, then finding they had no interest in the strings or the science fiction." }, { "kind": "lineage", "from": "genre:celtic-traditional", "to": "genre:bluegrass", "inherited": "The tunes underneath. Strip the banjo off and a great many of these are Scots-Irish reels and modal ballads, which is why an Irish fiddler can sit in on a bluegrass session and not get lost." }, { "kind": "lineage", "from": "genre:country", "to": "genre:bluegrass", "inherited": "The repertoire and the industry. Monroe was a Grand Ole Opry act playing country radio, and bluegrass is what happened when one bandleader decided the hillbilly string band should be virtuosic and fast." }, { "kind": "lineage", "from": "genre:jazz", "to": "genre:bossa-nova", "inherited": "The chords. Jobim was writing altered dominants and unresolved sevenths off American records, which is what let a samba sound like Debussy and gave American players something to hold on to." }, { "kind": "lineage", "from": "genre:samba", "to": "genre:bossa-nova", "inherited": "The rhythm, folded into one instrument. João Gilberto's right hand plays the surdo, the tamborim and the agogô at once on nylon strings, which is why bossa needs no percussion section to still be samba." }, { "kind": "lineage", "from": "genre:acid-house", "to": "genre:breakbeat-hardcore", "inherited": "The audience and the venues. Hardcore is what the acid house crowd wanted once four-to-the-floor stopped being enough — the same warehouses, the same night, a chopped funk break in place of the straight kick." }, { "kind": "lineage", "from": "genre:bleep-techno", "to": "genre:breakbeat-hardcore", "inherited": "The bass and the British-ness. Bleep put Jamaican sub-weight under Detroit melody two years early, and hardcore inherited that combination wholesale before speeding it up and adding the break." }, { "kind": "lineage", "from": "genre:dancehall", "to": "genre:breakbeat-hardcore", "inherited": "The bass and the voice. Sound-system culture supplied the sub-bass weight, the ragga vocal sample and the MC on the microphone, which is what separates a British rave record from a European one." }, { "kind": "lineage", "from": "genre:detroit-techno", "to": "genre:breakbeat-hardcore", "inherited": "The imported records. Britain's rave DJs were playing Transmat and Underground Resistance twelve-inches alongside their own, and the riffs and stabs that define hardcore are Detroit's, sped up and made cruder on purpose." }, { "kind": "lineage", "from": "genre:madchester", "to": "genre:britpop", "inherited": "The immediate predecessor and the swagger. Oasis are a Manchester band whose first gigs were in the Haçienda's afterglow, and Blur's early records are baggy records." }, { "kind": "lineage", "from": "genre:merseybeat", "to": "genre:britpop", "inherited": "The model, quoted openly. Everyone here is working from the Beatles and the Kinks — the melodies, the chord movements and the flat vowels are all deliberate retrievals of 1965." }, { "kind": "lineage", "from": "genre:punk", "to": "genre:britpop", "inherited": "The attitude and the independent labels. Creation and Food are punk-era structures, and the willingness to be rude in the press is inherited directly." }, { "kind": "lineage", "from": "genre:psychedelic-rock", "to": "genre:cambodian-rock", "inherited": "What they did with it by 1969 — fuzz, farfisa and long instrumental sections, applied to melodies that stay resolutely Khmer in their ornamentation." }, { "kind": "lineage", "from": "genre:rock-and-roll", "to": "genre:cambodian-rock", "inherited": "The arrival mechanism. American Forces Vietnam Network was audible across Cambodia, and Phnom Penh bands learned surf, twist and rock and roll off the radio without ever seeing anyone play it." }, { "kind": "lineage", "from": "genre:disco", "to": "genre:chicago-house", "inherited": "The records themselves. Chicago DJs were playing Philadelphia and Salsoul twelve-inches to a crowd disco had abandoned, and house began as the attempt to make new ones with a drum machine instead of an orchestra." }, { "kind": "lineage", "from": "genre:gospel", "to": "genre:chicago-house", "inherited": "The voices. Robert Owens, Darryl Pandy and Jamie Principle sing house records with church phrasing and church conviction, in rooms that most congregations would not have admitted them to. That tension is the genre's emotional engine." }, { "kind": "lineage", "from": "genre:italo-disco", "to": "genre:chicago-house", "inherited": "The synthetic half of the record collection. Chicago DJs were playing Italian imports next to Philadelphia twelve-inches, and the cheap sequencer-and-drum-machine sound of house owes as much to Milan as to anywhere in America." }, { "kind": "lineage", "from": "genre:disco", "to": "genre:city-pop", "inherited": "The gloss and the four-on-the-floor. City pop takes disco's string arrangements and production budget and points them at a private, domestic kind of pleasure rather than at a dancefloor." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:city-pop", "inherited": "The rhythm section. Japanese session players studied American funk records with a rigour bordering on the forensic, and the bass and drum parts here are technically cleaner than most of what they were copying." }, { "kind": "lineage", "from": "genre:soul", "to": "genre:city-pop", "inherited": "The vocal manners. The phrasing, the backing-vocal stacks and the chord changes are lifted from American soft soul, then sung in Japanese, which does something odd and lovely to the stresses." }, { "kind": "lineage", "from": "genre:baroque", "to": "genre:classical-period", "inherited": "The instruments and the harmony, with the texture inverted. Where Baroque spins a continuous line over a moving bass, the Classical style states a tune, answers it, and leaves silence — the same materials arranged for clarity rather than for momentum." }, { "kind": "lineage", "from": "genre:son-cubano", "to": "genre:congolese-rumba", "inherited": "Literally the records. Congolese bands learned from Cuban 78s sold across West and Central Africa, sang nonsense Spanish before switching to Lingala, and kept the clave — so this is an African music returning from Havana." }, { "kind": "lineage", "from": "genre:blues", "to": "genre:country", "inherited": "The other half, and rarely admitted at the time. Jimmie Rodgers yodels over twelve bars, Hank Williams learned from a Black street musician in Montgomery, and the bent note is not a Scottish inheritance." }, { "kind": "lineage", "from": "genre:celtic-traditional", "to": "genre:country", "inherited": "The tunes and the stories, carried by Scots-Irish settlers into Appalachia and kept there. The modal melodies, the ballad form and the fiddle are all still recognisably the ones that left Ulster." }, { "kind": "lineage", "from": "genre:dancehall", "to": "genre:daggering", "inherited": "Everything structural — the riddim economy, the deejay, the tempo. What daggering added was a subject: for three years the records described one dance in the plainest language available, and the rhythm tracks were built to be moved to in exactly that way." }, { "kind": "lineage", "from": "genre:dub", "to": "genre:dancehall", "inherited": "The idea that the instrumental is the real product. Once a version could carry a record on its own, a riddim could be sold to twenty artists in a season, and the whole economy of the music followed from that." }, { "kind": "lineage", "from": "genre:reggae", "to": "genre:dancehall", "inherited": "The rhythms themselves, often literally: dancehall's first decade is largely built on rocksteady and roots riddims recut faster, with the deejay doing the work the vocal group used to do." }, { "kind": "lineage", "from": "genre:chicago-house", "to": "genre:detroit-techno", "inherited": "Chicago made a drum machine the lead instrument, and Detroit kept the apparatus while discarding the gospel: the same 909 discipline aimed at science fiction rather than at the church." }, { "kind": "lineage", "from": "genre:electro", "to": "genre:detroit-techno", "inherited": "The machines and the posture. Juan Atkins was making Cybotron records in the Planet Rock era, and techno's cold, sequenced, science-fiction surface is electro's surface before it is anything of Detroit's own." }, { "kind": "lineage", "from": "genre:krautrock", "to": "genre:detroit-techno", "inherited": "The other half of the formula, and the one Derrick May named: Kraftwerk's precision meeting Parliament's funk in an elevator. Detroit heard European machine music as a model for the future rather than as a novelty." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:disco", "inherited": "The same rhythm section, straightened out. Disco takes funk's interlocking parts and puts a kick on every beat so a DJ can join two records together, which trades the syncopation for something a room can move to for hours." }, { "kind": "lineage", "from": "genre:soul", "to": "genre:disco", "inherited": "The arrangements and the voices. Philadelphia's disco records are Philly soul records with the tempo fixed and the running time doubled, cut by the same string sections and the same singers." }, { "kind": "lineage", "from": "genre:post-punk", "to": "genre:dream-pop", "inherited": "The same effects pedals, pointed the other way. Chorus and delay stop being used to make a guitar sound anxious and start being used to make it sound enormous, and the singer stops declaiming and starts floating." }, { "kind": "lineage", "from": "genre:breakbeat-hardcore", "to": "genre:drum-and-bass", "inherited": "The direct line. Jungle is hardcore with the breaks chopped finer and the tempo split in two, made by the same producers on the same equipment for the same rooms, about two years later." }, { "kind": "lineage", "from": "genre:detroit-techno", "to": "genre:drum-and-bass", "inherited": "Detroit supplied the sub-bass and the machine futurism, jungle supplied the breaks. Run Model 500's low end under chopped drums at twice the tempo and the rave apparatus is already assembled." }, { "kind": "lineage", "from": "genre:dub", "to": "genre:drum-and-bass", "inherited": "The bass and the ritual. Jungle came out of British sound-system culture: the sub-bass as the point of the record, the dubplate as currency, and the MC and the rewind as things a rave inherited directly from Kingston." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:drum-and-bass", "inherited": "The Amen break reached a British sampler because American records had already established that a drum loop lifted from someone else's song was a legitimate foundation to build on." }, { "kind": "lineage", "from": "genre:reggae", "to": "genre:dub", "inherited": "The records themselves. A dub is not a new composition but the B-side of an existing one, so every dub plate on this list is a roots reggae rhythm with the singer removed and the engineer promoted." }, { "kind": "lineage", "from": "genre:detroit-techno", "to": "genre:dub-techno", "inherited": "The chords and the reverence. Basic Channel licensed and pressed Detroit records before making their own, and the melancholy stab they built a label on is straight off a Transmat twelve-inch." }, { "kind": "lineage", "from": "genre:dub", "to": "genre:dub-techno", "inherited": "The signal path. Everything is a send: the chord exists only as its own echo, the mix is performed rather than arranged, and the noise floor is treated as an instrument exactly as King Tubby treated it." }, { "kind": "lineage", "from": "genre:drum-and-bass", "to": "genre:dubstep", "inherited": "The culture around it. Dubplate exclusivity, pirate radio, and an audience trained by jungle to treat the drop as the structural event a track is organised around." }, { "kind": "lineage", "from": "genre:dub", "to": "genre:dubstep", "inherited": "The method and the name. Everything is mixed around the bass, effects are performed live rather than printed, and the twelve-inch exists so a sound system can play it at a volume the record was designed to need." }, { "kind": "lineage", "from": "genre:uk-garage", "to": "genre:dubstep", "inherited": "The tempo and the skeleton. Dubstep keeps garage's 140 BPM and its shuffled hi-hats but halves the kick pattern, so the same grid that carried a soulful vocal is suddenly mostly empty space." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:electro", "inherited": "The parts, reassigned. Electro keeps funk's syncopation and its emphasis on the bass figure, then hands every one of those parts to a machine that cannot get tired and will not swing unless told to." }, { "kind": "lineage", "from": "genre:krautrock", "to": "genre:electro", "inherited": "The source material, taken literally. Planet Rock is Trans-Europe Express played over Numbers, which is less an influence than an act of appropriation — and it is the moment European machine music becomes Black American dance music." }, { "kind": "lineage", "from": "genre:jazz", "to": "genre:ethio-jazz", "inherited": "The training and the format. Astatke studied in London and Boston and came home with a vibraphone and a soul-jazz rhythm section, then bent both to modes that do not fit a Western scale." }, { "kind": "lineage", "from": "genre:chicago-house", "to": "genre:french-house", "inherited": "The machine and the format. The 909, the twelve-inch and the loop held past the point of politeness all arrive from Chicago intact; what Paris adds is compression and a refusal to let the loop develop at all." }, { "kind": "lineage", "from": "genre:disco", "to": "genre:french-house", "inherited": "The raw material, and openly. French house is largely a set of arguments about which four bars of a seventies record were the good ones, which makes it the most affectionate genre on this map towards its own ancestor." }, { "kind": "lineage", "from": "genre:jazz", "to": "genre:funk", "inherited": "The players and the harmony. The horn sections on these records read charts, and when a jazz musician like Herbie Hancock decides the groove is the interesting problem, the traffic is going both ways." }, { "kind": "lineage", "from": "genre:soul", "to": "genre:funk", "inherited": "The band, the studio and the singers, all already in place. Funk is what the Stax and King house bands did once the chord changes stopped being the interesting part and the drummer's placement started being it." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:g-funk", "inherited": "The source, and unusually openly. Where New York chopped James Brown into unrecognisable fragments, Dre interpolated whole Parliament and Funkadelic arrangements with session players, which is closer to covering than to sampling." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:g-funk", "inherited": "The form, slowed and moved west. G-funk keeps the verse structure and the producer-as-author model intact and rejects the density: where New York stacked four samples, Dre used one line and a great deal of space." }, { "kind": "lineage", "from": "genre:disco", "to": "genre:golden-age-hip-hop", "inherited": "The apparatus. The twelve-inch, the extended version and the idea of a DJ as the author of an evening all reached the Bronx from downtown, and the first rap hits were made over disco rhythm sections playing live." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:golden-age-hip-hop", "inherited": "The raw material. The break a DJ looped was almost always a funk drummer's four bars, and the genre's whole method — take the best part of somebody else's record and refuse to let it end — is a verdict on funk arrangements." }, { "kind": "lineage", "from": "genre:jazz", "to": "genre:golden-age-hip-hop", "inherited": "The crates. Once producers exhausted the obvious funk breaks they went into Blue Note and CTI records for horn stabs and upright bass, and A Tribe Called Quest and Gang Starr built entire aesthetics out of what they found." }, { "kind": "lineage", "from": "genre:blues", "to": "genre:gospel", "inherited": "Thomas Dorsey spent the twenties as the blues pianist Georgia Tom before he wrote a note of sacred music, and he brought the whole vocabulary with him. Gospel is blues technique with the subject changed, which is exactly what the churches objected to at the time." }, { "kind": "lineage", "from": "genre:dancehall", "to": "genre:gqom", "inherited": "The distribution. A gqom track circulates as a bare rhythm that MCs and dancers claim, spread hand to hand rather than through a label, exactly as a riddim moves through Kingston." }, { "kind": "lineage", "from": "genre:kwaito", "to": "genre:gqom", "inherited": "The inheritance and the argument with it. Gqom keeps kwaito's chanted vocal and township-tempo weight while throwing out the steady kick entirely, which is why Durban producers spent years being told what they made was not music." }, { "kind": "lineage", "from": "genre:dancehall", "to": "genre:grime", "inherited": "The delivery. The grime MC's cadence, the clash, the reload and the instrumental sold as its own record are all dancehall practices, arriving in East London through families and pirate radio rather than through records." }, { "kind": "lineage", "from": "genre:drum-and-bass", "to": "genre:grime", "inherited": "The bass weight and the ritual. Jungle taught East London the reload, the dubplate and the idea that an MC over a rhythm is the event rather than the accompaniment." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:grime", "inherited": "The other half of the vocal. Grime inherits rap's bar structure and its appetite for the competitive verse, then doubles the tempo and refuses the American accent along with the American swing." }, { "kind": "lineage", "from": "genre:uk-garage", "to": "genre:grime", "inherited": "The parent it turned on. Grime kept garage's tempo and its pirate-radio infrastructure while throwing out the soul vocal, the champagne and the swing, which is precisely what got its first MCs thrown out of the raves." }, { "kind": "lineage", "from": "genre:hardcore-punk", "to": "genre:grunge", "inherited": "The methods and the people. Everyone here came up through American hardcore's independent labels and touring circuit; grunge is what happened when those musicians slowed down and admitted they liked choruses." }, { "kind": "lineage", "from": "genre:psychedelic-rock", "to": "genre:grunge", "inherited": "The riffs and the volume. The other half of the record collection was late sixties and early seventies heavy rock, which hardcore orthodoxy had spent a decade treating as the enemy." }, { "kind": "lineage", "from": "genre:punk", "to": "genre:hardcore-punk", "inherited": "Everything, accelerated and stripped. Hardcore keeps punk's chord vocabulary and its independence and discards the pop tunes, the art-school irony and any song longer than ninety seconds." }, { "kind": "lineage", "from": "genre:ambient", "to": "genre:idm", "inherited": "What replaced the dancefloor. Once a record no longer had to work at two in the morning, Eno's idea of music as an environment was the only available model for what it should do instead." }, { "kind": "lineage", "from": "genre:bleep-techno", "to": "genre:idm", "inherited": "The label, literally. Warp existed to press bleep records and signed Aphex Twin, Autechre and Boards of Canada off the back of them; Artificial Intelligence is bleep producers being told they no longer had to fill a dancefloor." }, { "kind": "lineage", "from": "genre:detroit-techno", "to": "genre:idm", "inherited": "The hardware and the posture. Warp's Artificial Intelligence series was explicitly modelled on Detroit's science-fiction seriousness, and half its artists were licensing or imitating records from Metroplex and Transmat." }, { "kind": "lineage", "from": "genre:romantic", "to": "genre:impressionism", "inherited": "The palette, kept; the argument, abandoned. Debussy took the enormous Romantic orchestra and the unresolved Wagnerian harmony and removed the obligation to develop anything, which is the whole of the difference." }, { "kind": "lineage", "from": "genre:disco", "to": "genre:italo-disco", "inherited": "The form, kept alive somewhere the backlash never reached. Italo holds on to the four-on-the-floor kick, the extended twelve-inch and the sentimental melody, and simply replaces the string section with a Juno." }, { "kind": "lineage", "from": "genre:chicago-house", "to": "genre:juke-and-footwork", "inherited": "The same city, the same drum machines, forty BPM faster. Ghetto house took the 909 out of the loft parties and into the South and West Side, keeping the loop discipline while abandoning any obligation to sound expensive." }, { "kind": "lineage", "from": "genre:electro", "to": "genre:juke-and-footwork", "inherited": "The low end. Ghetto house took its 808 kick and hand-clap pattern from electro and Miami bass rather than from Chicago's own house records, which is why it hits so much harder than what it grew out of." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:juke-and-footwork", "inherited": "The voice. The chanted, repeated, obscene vocal fragment is a rap technique rather than a house one — a hook cut down to two words and used as percussion." }, { "kind": "lineage", "from": "genre:miami-bass", "to": "genre:juke-and-footwork", "inherited": "The kick. Ghetto house's tuned, overlong 808 is Miami's rather than Chicago's — house records did not hit like that until the bass tapes came up from Florida." }, { "kind": "lineage", "from": "genre:minimalism", "to": "genre:krautrock", "inherited": "The permission to repeat. New York drone and phase music reached Germany through Tony Conrad and La Monte Young, and gave a generation of bands a reason to hold one figure for twenty minutes and call it finished." }, { "kind": "lineage", "from": "genre:musique-concrete", "to": "genre:krautrock", "inherited": "The editing. Faust and Can built records out of tape splices rather than takes, and Stockhausen taught two of Can's members directly — the lineage here is a classroom, not an influence." }, { "kind": "lineage", "from": "genre:psychedelic-rock", "to": "genre:krautrock", "inherited": "The starting point most of these bands were reacting against and extending at once. Amon Düül II are a commune psych band by any reading; Can and Faust keep the studio experiment and throw out the blues and the whimsy." }, { "kind": "lineage", "from": "genre:chicago-house", "to": "genre:kwaito", "inherited": "The imported twelve-inches, played too slow. Johannesburg DJs pitched Chicago and New York house down towards 100 BPM to fit local dancing, and producers then simply made records at the speed the records were played at." }, { "kind": "lineage", "from": "genre:dancehall", "to": "genre:kwaito", "inherited": "The voice. The chanted, repeated, half-sung vocal over a shared rhythm track is a deejay's technique rather than a house singer's, and kwaito's slang-heavy delivery works the way a Kingston toast does." }, { "kind": "lineage", "from": "genre:acid-house", "to": "genre:madchester", "inherited": "The rhythm and the pharmacology. Once the Haçienda's floor was moving to Chicago imports, a Manchester band that wanted to be played there had to supply a groove rather than a riff." }, { "kind": "lineage", "from": "genre:balearic", "to": "genre:madchester", "inherited": "The holiday that changed the city. The Haçienda's DJs came back from Ibiza in 1987 with a set of records and a licence to play anything, and the guitar bands followed the floor." }, { "kind": "lineage", "from": "genre:post-punk", "to": "genre:madchester", "inherited": "The personnel and the label. Factory Records, New Order and the Haçienda are the same institution one decade later, and the guitar bands that followed inherited a venue built by post-punk profits." }, { "kind": "lineage", "from": "genre:g-funk", "to": "genre:memphis-rap", "inherited": "The tempo relationship and the local-tape economy. The West Coast showed that a region could build an industry outside New York, and Memphis inverted its sunlit tone into something closer to a horror film." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:memphis-rap", "inherited": "The form, received and immediately degraded. Memphis kept the verse and the sampler and threw out the crispness — these tapes are deliberately muddy, and the murk is the aesthetic rather than a budget problem." }, { "kind": "lineage", "from": "genre:rhythm-and-blues", "to": "genre:merseybeat", "inherited": "The records the ships brought in. Liverpool got American R&B 45s before London did, straight off the Cunard boats, and the groups were covering Barrett Strong and the Shirelles while the BBC was ignoring both." }, { "kind": "lineage", "from": "genre:rock-and-roll", "to": "genre:merseybeat", "inherited": "The repertoire, learned note for note. Every one of these bands started as a covers act working Hamburg clubs eight hours a night, which is where the tightness came from and why the songwriting arrived so suddenly." }, { "kind": "lineage", "from": "genre:electro", "to": "genre:miami-bass", "inherited": "The same drum machine, one idea narrowed. Miami took Planet Rock's 808 and discarded everything except the kick and the handclap, then tuned the kick until it was the entire arrangement." }, { "kind": "lineage", "from": "genre:impressionism", "to": "genre:minimalism", "inherited": "The precedent nobody claimed. Satie wrote a page and asked for it 840 times in 1893, which is the whole method sixty years early, and Cage spent a career pointing this out to anyone who would listen." }, { "kind": "lineage", "from": "genre:modernism", "to": "genre:minimalism", "inherited": "The thing being rejected. Riley, Reich and Glass were trained in serialism and walked away from it — minimalism is a reaction against Darmstadt that could only have been made by people who had been through Darmstadt." }, { "kind": "lineage", "from": "genre:musique-concrete", "to": "genre:minimalism", "inherited": "The tape machine as a compositional instrument. Reich's phase pieces are literally two tape loops drifting apart — a Paris technique applied to an American obsession with process." }, { "kind": "lineage", "from": "genre:impressionism", "to": "genre:modernism", "inherited": "The permission to treat sound as material. Once Debussy had shown a chord could exist for its colour rather than its function, the argument about whether it had to belong to a key was already half over." }, { "kind": "lineage", "from": "genre:romantic", "to": "genre:modernism", "inherited": "The chord that would not resolve, finally left unresolved. Schoenberg described his own atonality as the logical next step from Wagner and Mahler, and he was being descriptive rather than modest." }, { "kind": "lineage", "from": "genre:modernism", "to": "genre:musique-concrete", "inherited": "The argument arrived first. Russolo's noise machines and Varèse's insistence that music is organised sound had already won the case for material by 1913; Schaeffer simply had a tape machine and could act on it." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:neo-soul", "inherited": "The instrumentation and the harmony. When the samples came off, what was left underneath was a live rhythm section playing the parts the samples had been lifted from in the first place." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:neo-soul", "inherited": "The rhythmic feel and the standards. Neo-soul players learned their timing from sampled loops rather than from live soul records, which is why the drums sit fractionally late in a way no session drummer of the seventies would have allowed." }, { "kind": "lineage", "from": "genre:soul", "to": "genre:neo-soul", "inherited": "The thing being restored. Neo-soul is explicitly an argument that the seventies got something right — the live rhythm section, the album as a statement, the singer as an interpreter rather than a brand." }, { "kind": "lineage", "from": "genre:soul", "to": "genre:northern-soul", "inherited": "The records, all of them, and none of them made for this. Northern soul is a curatorial act performed on other people's commercial failures — mostly mid-sixties Detroit and Chicago sides that had sold nothing at home." }, { "kind": "lineage", "from": "genre:afrobeat", "to": "genre:post-punk", "inherited": "The polyrhythm. Talking Heads, A Certain Ratio and Rip Rig + Panic were all openly studying Fela's interlocking parts, which is how a scene that started with three chords ended up with two percussionists." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:post-punk", "inherited": "The other half of the rhythm section. Gang of Four and A Certain Ratio played James Brown's interlocking parts with the warmth deliberately removed, using funk as an argument about tension rather than pleasure." }, { "kind": "lineage", "from": "genre:krautrock", "to": "genre:post-punk", "inherited": "The engine. Joy Division, Wire and PiL all took the unaccented forward pulse off Neu! and Can records rather than off American rock, which is why post-punk drives instead of swinging." }, { "kind": "lineage", "from": "genre:punk", "to": "genre:post-punk", "inherited": "The clue is in the name. Post-punk is made by people who were in punk bands or at punk gigs, keeping the amateurism and the independence and discarding the three chords within about eighteen months." }, { "kind": "lineage", "from": "genre:blues", "to": "genre:psychedelic-rock", "inherited": "The material underneath the effects. Strip the phasing off most of these records and a twelve-bar structure is still holding them up, which is why the guitar solos go where they go." }, { "kind": "lineage", "from": "genre:merseybeat", "to": "genre:psychedelic-rock", "inherited": "The bands themselves, three years older. Psychedelia in Britain is largely beat groups who could suddenly afford studio time and had stopped touring — the same players, the same producers, an entirely different brief." }, { "kind": "lineage", "from": "genre:rock-and-roll", "to": "genre:psychedelic-rock", "inherited": "The instrumentation and the format, taken somewhere it was not designed to go. Every band here started out playing Chuck Berry covers, then discovered the studio was an instrument and the three-minute single was optional." }, { "kind": "lineage", "from": "genre:rock-and-roll", "to": "genre:punk", "inherited": "The same three chords and the same two minutes, retrieved deliberately. Punk is a raid on 1956 conducted in order to throw out everything rock had accumulated in the twenty years since." }, { "kind": "lineage", "from": "genre:ska", "to": "genre:reggae", "inherited": "The same musicians, decelerating. Ska slowed into rocksteady and rocksteady slowed again, and at each step the bass took over more of the tune until the offbeat guitar chop was all that was left of the original feel." }, { "kind": "lineage", "from": "genre:dancehall", "to": "genre:reggaeton", "inherited": "One riddim, taken literally. Shabba Ranks's Dem Bow was recut in Panama and then in San Juan until the boom-ch-boom-chick under it stopped being a quotation and became the genre's definition." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:reggaeton", "inherited": "The vocal and the economy. Reggaeton's verses are rapped, its records were made on cheap samplers and sold hand to hand on cassette, and the mixtape came to Puerto Rico from New York rather than Kingston." }, { "kind": "lineage", "from": "genre:blues", "to": "genre:rhythm-and-blues", "inherited": "The form, moved to the city and given a band. Rhythm and blues is twelve-bar music with a rhythm section, an amplifier and a shuffle — the Delta repertoire rearranged for a room that wants to dance rather than listen." }, { "kind": "lineage", "from": "genre:jazz", "to": "genre:rhythm-and-blues", "inherited": "The horns and the reading musicians. Jump blues is what happened when the swing bands became too expensive to tour: the same arrangers and players, cut down to six pieces and pointed at a smaller, louder room." }, { "kind": "lineage", "from": "genre:hardcore-punk", "to": "genre:riot-grrrl", "inherited": "The volume, the brevity and the labels. Kill Rock Stars and Dischord are the same infrastructure; what changed was who was allowed to use it and what the songs were permitted to be about." }, { "kind": "lineage", "from": "genre:post-punk", "to": "genre:riot-grrrl", "inherited": "The other model. The Slits and the Raincoats had already shown that a band could be deliberately untrained and rhythmically strange, and riot grrrl cited them constantly and correctly." }, { "kind": "lineage", "from": "genre:blues", "to": "genre:rock-and-roll", "inherited": "The form underneath. Almost everything here is still twelve bars and three chords; what changed was the tempo, the volume and the age of the audience." }, { "kind": "lineage", "from": "genre:country", "to": "genre:rock-and-roll", "inherited": "The other half of rockabilly, and the half usually left out. Presley, Perkins and Lewis were hillbilly acts on hillbilly labels; Sun's whole method was a country singer doing a blues, and the guitar style comes from Nashville rather than from Chicago." }, { "kind": "lineage", "from": "genre:rhythm-and-blues", "to": "genre:rock-and-roll", "inherited": "The songs, often literally the same ones. Rock and roll is jump blues with a backbeat pushed forward, a guitar promoted over the saxophone, and a marketing department that had worked out who was buying the records." }, { "kind": "lineage", "from": "genre:classical-period", "to": "genre:romantic", "inherited": "The forms, inherited and then strained past their tolerances. A Romantic symphony is still the Classical four movements; it is simply three times as long, twice as loud, and no longer pretending the argument is abstract." }, { "kind": "lineage", "from": "genre:jazz", "to": "genre:salsa", "inherited": "The harmony and the solos. Salsa arrangers were reading big-band charts, and the horn writing on a Fania record is closer to Basie than to anything recorded in Cuba." }, { "kind": "lineage", "from": "genre:son-cubano", "to": "genre:salsa", "inherited": "The whole architecture, unchanged. Clave, montuno, coro-pregón and the conjunto line-up all arrive intact from Havana; what New York adds is trombones, volume and a different set of grievances." }, { "kind": "lineage", "from": "genre:bossa-nova", "to": "genre:shibuya-kei", "inherited": "The chords and the cool. Shibuya-kei's default harmonic language is Jobim's, and Pizzicato Five and Cornelius both worked from Brazilian records long before Western listeners noticed." }, { "kind": "lineage", "from": "genre:city-pop", "to": "genre:shibuya-kei", "inherited": "The studio standards and the personnel. This is the previous Tokyo generation's obsessive production quality, applied by people young enough to treat that generation as a crate to dig in." }, { "kind": "lineage", "from": "genre:ambient", "to": "genre:shoegaze", "inherited": "Eno's premise — that the studio is the instrument and texture is the composition — reached Thames Valley guitar bands a decade later and was played at volume. The wall of noise is an ambient record with the gain up." }, { "kind": "lineage", "from": "genre:dream-pop", "to": "genre:shoegaze", "inherited": "The immediate parent. 4AD had already established the voice-as-texture, the guitar-as-weather and the refusal to put the lyric forward; shoegaze added volume and a wall of pedals to a template that was otherwise finished." }, { "kind": "lineage", "from": "genre:post-punk", "to": "genre:shoegaze", "inherited": "The guitars and the temperament. Effects used to obscure rather than to display, a bass carrying the tune, and a singer positioned as one more texture — all settled practice in Britain by 1982." }, { "kind": "lineage", "from": "genre:psychedelic-rock", "to": "genre:shoegaze", "inherited": "The pedals and the ambition. Everything shoegaze does to a guitar was first done in 1967; what changed was that the effects stopped being a decoration on the song and became the song." }, { "kind": "lineage", "from": "genre:jazz", "to": "genre:ska", "inherited": "The players. The Skatalites were Alpha Boys School-trained jazz musicians, and the horn arrangements and solos on these records are bebop-literate in a way the form did not require." }, { "kind": "lineage", "from": "genre:rhythm-and-blues", "to": "genre:ska", "inherited": "The source signal, received from Miami. Jamaican sound systems ran on American jump blues records until the supply dried up, and ska began as an attempt to make more of them locally." }, { "kind": "lineage", "from": "genre:blues", "to": "genre:soul", "inherited": "The material and the tuning of the voice. The bent third that makes a soul vocal sound like it is telling the truth is a blues inflection, applied to a song that now has a bridge." }, { "kind": "lineage", "from": "genre:gospel", "to": "genre:soul", "inherited": "The whole technique, secularised. Cooke, Franklin and Redding were trained in church and changed the subject and nothing else; the melisma, the call-and-response and the build to a shout all arrive fully formed." }, { "kind": "lineage", "from": "genre:rhythm-and-blues", "to": "genre:soul", "inherited": "The band behind them. Soul is jump blues with the shuffle straightened and the horn section made to serve a singer rather than a dancer, cut by the same players for the same labels." }, { "kind": "lineage", "from": "genre:g-funk", "to": "genre:trap", "inherited": "The regional model. Atlanta learned from Los Angeles that a city outside New York could build its own industry, its own producers and its own accent, and then decline to apologise for any of it." }, { "kind": "lineage", "from": "genre:memphis-rap", "to": "genre:trap", "inherited": "The rhythm, wholesale. The triplet hi-hat, the tuned 808, the chanted hook and the murk are all on Memphis tapes from a decade earlier — Atlanta's contribution was the budget and the mixing desk." }, { "kind": "lineage", "from": "genre:ambient", "to": "genre:trip-hop", "inherited": "What the breaks sit in. The space around a Massive Attack record is Eno's rather than hip-hop's: a mix built as weather instead of as a stack of parts, which is why the genre sounds like a room." }, { "kind": "lineage", "from": "genre:dub", "to": "genre:trip-hop", "inherited": "The mix. Bristol's sound-system inheritance is why these records are built from the bass upward, why the reverb is a location rather than an effect, and why the vocal is allowed to disappear for a bar and come back." }, { "kind": "lineage", "from": "genre:golden-age-hip-hop", "to": "genre:trip-hop", "inherited": "The method, slowed. Bristol took the loop-and-verdict grammar off New York records — a break held long enough to become the song — and dropped it forty BPM into something nobody could dance to." }, { "kind": "lineage", "from": "genre:bossa-nova", "to": "genre:tropicalia", "inherited": "The harmony and the parentage they were rebelling against. Caetano and Gil revered João Gilberto and then argued that a music this refined could no longer describe the country it came from." }, { "kind": "lineage", "from": "genre:psychedelic-rock", "to": "genre:tropicalia", "inherited": "The electric guitars, imported precisely because Brazilian purists considered them a betrayal. Os Mutantes had heard Sgt. Pepper and the Beatles' studio tricks are all over these records." }, { "kind": "lineage", "from": "genre:samba", "to": "genre:tropicalia", "inherited": "The rhythm underneath the noise. However far the arrangements go, the percussion is Brazilian and the songs are still built to be understood by an audience that grew up on carnival." }, { "kind": "lineage", "from": "genre:punk", "to": "genre:two-tone", "inherited": "The speed and the infrastructure. Two-Tone runs on punk's independent labels, punk's touring circuit and punk's assumption that a band should be able to start on Tuesday and play on Friday." }, { "kind": "lineage", "from": "genre:ska", "to": "genre:two-tone", "inherited": "The rhythm, the repertoire and the point. These bands covered Prince Buster and the Skatalites outright, and the offbeat guitar chop is unchanged — only the tempo and the anger are new." }, { "kind": "lineage", "from": "genre:grime", "to": "genre:uk-drill", "inherited": "The accent, the crews and the delivery. Drill MCs are working in a London tradition of pirate radio, clashes and video premieres that grime built, and the rhythmic placement of the bars is grime's rather than Atlanta's." }, { "kind": "lineage", "from": "genre:trap", "to": "genre:uk-drill", "inherited": "The instrument list and the tempo. Drill is a trap kit — tuned 808, rolled hats, sparse synth — with the bass line made to slide between notes, which is the single element that makes it identifiable in one bar." }, { "kind": "lineage", "from": "genre:breakbeat-hardcore", "to": "genre:uk-garage", "inherited": "The other half of the split. When hardcore divided, one side went to 170 BPM and got darker while the other kept the swing and the vocal and slowed down, and garage is what the second group made." }, { "kind": "lineage", "from": "genre:chicago-house", "to": "genre:uk-garage", "inherited": "Garage never stopped being a New York and Chicago idea — four-to-the-floor under a gospel vocal — until London swung the hi-hats and cut the kick out of every other bar." }, { "kind": "lineage", "from": "genre:drum-and-bass", "to": "genre:uk-garage", "inherited": "The infrastructure arrived before the music: the same pirate stations, the same MCs, the same soundsystem bass. Garage is what jungle's audience wanted at half the tempo, on a night they came to dance with someone." }, { "kind": "lineage", "from": "genre:funk", "to": "genre:zamrock", "inherited": "The rhythm sections, which swing where their British models plod. James Brown records circulated in Lusaka alongside the rock ones, and Zamrock's drummers clearly preferred them." }, { "kind": "lineage", "from": "genre:psychedelic-rock", "to": "genre:zamrock", "inherited": "Hendrix, Cream and Black Sabbath, arriving on records and reproduced with what was available. The fuzz here is often an overdriven cheap amplifier rather than a pedal, and it is better for it." }, { "kind": "shared", "between": [ "selection:the-desk-a-way-in", "selection:the-desk-the-hundred" ], "count": 8, "records": [ { "key": "brian-eno--an-ending-ascent", "title": "An Ending (Ascent)", "artist": "Brian Eno", "url": "https://waxonia.com/track/brian-eno--an-ending-ascent/" }, { "key": "eric-b-and-rakim--paid-in-full", "title": "Paid in Full", "artist": "Eric B. & Rakim", "url": "https://waxonia.com/track/eric-b-and-rakim--paid-in-full/" }, { "key": "goldie--inner-city-life", "title": "Inner City Life", "artist": "Goldie", "url": "https://waxonia.com/track/goldie--inner-city-life/" }, { "key": "massive-attack--unfinished-sympathy", "title": "Unfinished Sympathy", "artist": "Massive Attack", "url": "https://waxonia.com/track/massive-attack--unfinished-sympathy/" }, { "key": "mj-cole--sincere", "title": "Sincere", "artist": "MJ Cole", "url": "https://waxonia.com/track/mj-cole--sincere/" }, { "key": "mr-fingers--can-you-feel-it", "title": "Can You Feel It", "artist": "Mr. Fingers", "url": "https://waxonia.com/track/mr-fingers--can-you-feel-it/" }, { "key": "my-bloody-valentine--only-shallow", "title": "Only Shallow", "artist": "My Bloody Valentine", "url": "https://waxonia.com/track/my-bloody-valentine--only-shallow/" }, { "key": "rhythim-is-rhythim--strings-of-life", "title": "Strings of Life", "artist": "Rhythim Is Rhythim", "url": "https://waxonia.com/track/rhythim-is-rhythim--strings-of-life/" } ] }, { "kind": "shared", "between": [ "genre:miami-bass", "selection:miami" ], "count": 6, "records": [ { "key": "2-hyped-brothers-and-a-dog--doo-doo-brown", "title": "Doo Doo Brown", "artist": "2 Hyped Brothers and a Dog", "url": "https://waxonia.com/track/2-hyped-brothers-and-a-dog--doo-doo-brown/" }, { "key": "2-live-crew--throw-the-d", "title": "Throw the D", "artist": "2 Live Crew", "url": "https://waxonia.com/track/2-live-crew--throw-the-d/" }, { "key": "69-boyz--tootsee-roll", "title": "Tootsee Roll", "artist": "69 Boyz", "url": "https://waxonia.com/track/69-boyz--tootsee-roll/" }, { "key": "amos-larkins-ii--planet-rock", "title": "Planet Rock", "artist": "Amos Larkins II", "url": "https://waxonia.com/track/amos-larkins-ii--planet-rock/" }, { "key": "dynamix-ii--scarface", "title": "Scarface", "artist": "Dynamix II", "url": "https://waxonia.com/track/dynamix-ii--scarface/" }, { "key": "mc-a-d-e--bass-rock-express", "title": "Bass Rock Express", "artist": "MC A.D.E.", "url": "https://waxonia.com/track/mc-a-d-e--bass-rock-express/" } ] }, { "kind": "shared", "between": [ "genre:uk-garage", "selection:the-desk-garage-on-the-mix" ], "count": 6, "records": [ { "key": "artful-dodger-featuring-craig-david--re-rewind-the-crowd-say-bo-selecta", "title": "Re-Rewind (The Crowd Say Bo Selecta)", "artist": "Artful Dodger featuring Craig David", "url": "https://waxonia.com/track/artful-dodger-featuring-craig-david--re-rewind-the-crowd-say-bo-selecta/" }, { "key": "dem-2--destiny", "title": "Destiny", "artist": "Dem 2", "url": "https://waxonia.com/track/dem-2--destiny/" }, { "key": "double-99--rip-groove", "title": "RIP Groove", "artist": "Double 99", "url": "https://waxonia.com/track/double-99--rip-groove/" }, { "key": "mj-cole--sincere", "title": "Sincere", "artist": "MJ Cole", "url": "https://waxonia.com/track/mj-cole--sincere/" }, { "key": "so-solid-crew--21-seconds", "title": "21 Seconds", "artist": "So Solid Crew", "url": "https://waxonia.com/track/so-solid-crew--21-seconds/" }, { "key": "sweet-female-attitude--flowers-sunship-remix", "title": "Flowers (Sunship Remix)", "artist": "Sweet Female Attitude", "url": "https://waxonia.com/track/sweet-female-attitude--flowers-sunship-remix/" } ] }, { "kind": "shared", "between": [ "selection:nineteen-ninety-four", "selection:the-desk-the-hundred" ], "count": 6, "records": [ { "key": "basic-channel--quadrant-dub", "title": "Quadrant Dub", "artist": "Basic Channel", "url": "https://waxonia.com/track/basic-channel--quadrant-dub/" }, { "key": "goldie--inner-city-life", "title": "Inner City Life", "artist": "Goldie", "url": "https://waxonia.com/track/goldie--inner-city-life/" }, { "key": "nas--n-y-state-of-mind", "title": "N.Y. State of Mind", "artist": "Nas", "url": "https://waxonia.com/track/nas--n-y-state-of-mind/" }, { "key": "portishead--glory-box", "title": "Glory Box", "artist": "Portishead", "url": "https://waxonia.com/track/portishead--glory-box/" }, { "key": "shy-fx-and-uk-apache--original-nuttah", "title": "Original Nuttah", "artist": "Shy FX & UK Apache", "url": "https://waxonia.com/track/shy-fx-and-uk-apache--original-nuttah/" }, { "key": "warren-g-and-nate-dogg--regulate", "title": "Regulate", "artist": "Warren G & Nate Dogg", "url": "https://waxonia.com/track/warren-g-and-nate-dogg--regulate/" } ] }, { "kind": "shared", "between": [ "genre:dubstep", "selection:the-desk-dubstep-goes-national" ], "count": 5, "records": [ { "key": "benga-and-coki--night", "title": "Night", "artist": "Benga & Coki", "url": "https://waxonia.com/track/benga-and-coki--night/" }, { "key": "burial--archangel", "title": "Archangel", "artist": "Burial", "url": "https://waxonia.com/track/burial--archangel/" }, { "key": "digital-mystikz--anti-war-dub", "title": "Anti-War Dub", "artist": "Digital Mystikz", "url": "https://waxonia.com/track/digital-mystikz--anti-war-dub/" }, { "key": "kode9-and-the-spaceape--sine-of-the-dub", "title": "Sine of the Dub", "artist": "Kode9 & The Spaceape", "url": "https://waxonia.com/track/kode9-and-the-spaceape--sine-of-the-dub/" }, { "key": "skream--midnight-request-line", "title": "Midnight Request Line", "artist": "Skream", "url": "https://waxonia.com/track/skream--midnight-request-line/" } ] }, { "kind": "shared", "between": [ "genre:funk", "selection:the-desk-the-accent-moved" ], "count": 5, "records": [ { "key": "herbie-hancock--chameleon", "title": "Chameleon", "artist": "Herbie Hancock", "url": "https://waxonia.com/track/herbie-hancock--chameleon/" }, { "key": "james-brown--cold-sweat", "title": "Cold Sweat", "artist": "James Brown", "url": "https://waxonia.com/track/james-brown--cold-sweat/" }, { "key": "parliament--give-up-the-funk-tear-the-roof-off-the-sucker", "title": "Give Up the Funk (Tear the Roof off the Sucker)", "artist": "Parliament", "url": "https://waxonia.com/track/parliament--give-up-the-funk-tear-the-roof-off-the-sucker/" }, { "key": "sly-and-the-family-stone--thank-you-falettinme-be-mice-elf-agin", "title": "Thank You (Falettinme Be Mice Elf Agin)", "artist": "Sly & the Family Stone", "url": "https://waxonia.com/track/sly-and-the-family-stone--thank-you-falettinme-be-mice-elf-agin/" }, { "key": "stevie-wonder--superstition", "title": "Superstition", "artist": "Stevie Wonder", "url": "https://waxonia.com/track/stevie-wonder--superstition/" } ] }, { "kind": "shared", "between": [ "genre:funk", "selection:the-desk-the-hundred" ], "count": 5, "records": [ { "key": "incredible-bongo-band--apache", "title": "Apache", "artist": "Incredible Bongo Band", "url": "https://waxonia.com/track/incredible-bongo-band--apache/" }, { "key": "james-brown--cold-sweat", "title": "Cold Sweat", "artist": "James Brown", "url": 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