It has to be clarified that Robert Miles is not the original creator of the DREAM MUSIC. Apparently this term was used for the first time by the Italian D.J. Gianni Parrini, at the end of 1993. D.J. Parrini is still the real leader of this style, but it seems he has not the luck as Robert Miles with his 'Children'. Among the first creators of this style were artists like: Adriano Dodici, Gigi d'Agostino (well known nowadays), Leonardo Rossi, and of course Gianni Parrini himself. DREAM HOUSE originally evolved from TRANCE. Usually down-beat, with soft melodic sounds (a piano is characteristic and practically a mandatory section), and a sharp pounding drum beat. It also can have a heavenly female or choir voice (e.g. Zhi-vago, DJ Dado etc).
The cover-sleeves normally shows virtual landscapes, or relating to the cosmos. Frequently the dream can be fused with elements of techno or progressive music, resulting faster with a vibrating baseline straight and running (e.g. B.B.E). This “mutated” style also got the name (e.g. PROGRESSIVE MEDITERRANEAN). Other variant of dream is called COSMIC-DREAM: it is more deep and reflexive (e.g. . Brothers Of The Coast). The main Italian labels devoted to dream music in Italy are: In Lite, Outta (both from Ala Bianca Group), Desastre (from DB One), several labels from Zac Music like Vertikal, Elite, Universal have released some stuff. Also from DiscoMagic we have the side more commercial of this style with a label just named Dream Records. Check these releases: Adriano Dodici ‘Opera Dodici’ (WestWard / 1993), Roland Brant ‘Mastermind’ (Desastre / 1994), D.J. Panda ‘It’s A Dream’ (Outta / 1994), Robiz ‘Universum’ (In Lite / 1995), Gianni Parrini ‘White Blow’ (Drohm / 1995), Sonic Dream ‘Il Sogno’ (Desastre / 1995), Oscar Piatelli & Frank Vanoli ‘Livin’ Age’ (Desastre / 1995), MC Hair ‘Moonra E.P.’ (Red Gate / 1995), Positive with Gianni Parrini ‘Traum Remix’ (UMM PR / 1995), Brothers Of The Coast ‘Ouverture’ (Universal / 1995) cosmic dream.
This is by far; the most popular dance format. So much so, that there exists over a dozen related branches including New York dub, Chicago, New Jersey, Miami, garage, tribal, acid... in fact, almost every other format touches on house at some point because the steady 4/4 time signature beat is virtually universal in dance music. Attributes: the beat, keyboards, home synthesizers, male vocals, female vocals at all... add any or all. What you add defines what kind of house it is but what makes it house is it the beat 110 to 128 BPM.
Examples: lnner City, MK, Ralphie Rosario, Robin S., and anything on the Murk; Eightball or Strictly Rhythm labels.
Disco never died, it split. At the beginning part became Hi-NRG and part became house. Now Hi-NRG took additional techno sound. This is the current evolution of disco that remained truest to its mid’70’-dlsco roots and is the perennial musical staple of gay dance clubs.
Attributes: strong melodies, full vocal arrangements, happy, uplifting energy, lots of remakes. 118 to 140 BPM. Examples: Abigail, Kylie Mlnogue, Blue System, Fancy, Bad Boys Blue, Gypsy & Queen, Pet Shop Boys, Abbacadabra, Cabballero, Masterboy, Aladino, and anything on the PWL, Klone or Megatone labels.
Since the 1960s, most African popular music incorporates traditional local vocal, instrumental, and percussive styles, but also draws heavily on rock, reggae, and/or hip hop. For example raï, which originated in Algeria and spread throughout North Africa and to the North African diaspora, especially in France, began with topical songs based in the local traditional music, but, starting around 1980, began to incorporate elements of hip hop. Other notable contemporary African genres include Zulu jive (South Africa), highlife (Ghana) and in Nigeria juju music (now nearly a century old, and constantly evolving) and Afrobeat. Many African countries have also developed their own versions of reggae and hip hop.
Hip hop music (also commonly referred to as "rap") can be seen as a subgenre of R&B tradition. Hip hop began in inner cities in the US in the 1970s. The earliest recordings, from the late-1970s and early 1980s, are now referred to as old school hip hop. In the later part of the decade, regional styles developed. East Coast hip hop, based out of New York City, was by far the most popular as hip hop began to break into the mainstream. West Coast hip hop, based out of Los Angeles, was by far less popular until 1992, when Dr. Dre's The Chronic revolutionized the West Coast sound, using slow, stoned, lazy beats in what came to be called G Funk. Soon after, a host of other regional styles became popular, most notably Southern rap, based out of Atlanta and New Orleans, primarily. Atlanta-based performers like OutKast and Goodie Mob soon developed their own distinct sound, which came to be known as Dirty South. As hip hop became more popular in the mid-1990s, alternative hip hop gained in popularity among critics and long-time fans of the music. De La Soul's 3 Feet High and Rising (1989) was perhaps the first "alternative hip hop" blockbuster, and helped develop a specific style called jazz rap, characterized by the use of live instrumentation and/or jazz samples. Other less popular forms of hip hop include various non-American varieties; Japan, Britain, Mexico, Sweden, Finland, France, Germany, Italy and Turkey have vibrant hip hop communities. In Puerto Rico, a style called reggaeton is popular. Electro hip hop was invented in the 1980s, but is distinctly different from most old school hip hop (as is go go, another old style). Some other genres have been created by fusing hip hop with techno (trip hop) and heavy metal (rapcore). In the late 1980s, Miami's hip hop scene was characterized by bass-heavy grooves designed for dancing -- Miami bass music. There are also rappers with Christian themes in the lyrics -- this is Christian hip hop.
Punk is a subgenre of rock music. The term “punk music” can only rarely be applied without any controversy. Perhaps the only bands always considered “punk” are the first wave of punk bands, such as the Clash and the Ramones. Before this, however, a series of underground musicians helped define the music throughout the 1970s — see Forerunners of punk music.
After 1978, following the collapse of The Sex Pistols, punk could go no further. However, the space that had been created in popular taste and in the distribution system facilitated a number of successors.
With the exhaustion of The Sex Pistols, none of their peers — Blondie, Siouxie and the Banshees, Television, The Clash, The Pop Group, The Ramones was able to carry on the public fight for freedom of expression. A flood of other groups came to prominence in Britain who explored the new space with abandon.
Despite evidence to the contrary, many refused to believe that the phenomenon could not be repeated and several so-called genres acquired followings.These ‘genres’ can be grouped into three categories — hardcore punk, New Wave and alternative rock.
Hardcore punk music kept the raw, visceral energy of the original punk bands. In the 1980s, reggae influences resulted in a fusion called ska punk, while another group of bands became known as Oi!, uniting punks and Skinheads with an aggressive, though often humourous style of streetpunk. Some of these bands took a far-right political stance, most notably Skrewdriver, but most distanced themselves from this, often appearing at the opposite end of the political spectrum, such as The Angelic Upstarts. During the 1990s, some more styles emerged, including straight edge, and queercore, based around subcultures — straight edge and homosexuals, respectively. Psychobilly (see also cow punk) also emerged, fusing punk with rockabilly and other kinds of country music. In addition, emo (or emocore) had appeared by the 90s, characterized by slower beats, dreamy vocals and angst-ridden lyrics, and moshcore, which involved heavy moshing.
New Wave was the most popular genre of punk music, dominating the charts during the early 1980s. Varieties included Neue Deutsche Welle, synth pop, dream pop and the New Romantics. Of these, the most popular was synth pop, though the most critically accepted groups were the underground dream pop bands. In the 1980s, dream pop evolved into many of the most popular genres of the 1990s. This occurred primarily in Britain, with styles like jangle pop (and the Paisley Underground) and noise pop (and, later, twee pop, shoegazing). All of these styles (along with psychedelic music) contributed to the popular emergence of Britpop in the middle of the decade.
Keeping the anti-corporate stance of punk music, alternative rock is a broad grouping, referring to multiple styles. The earliest genres were noise pop, post-rock and Gothic rock. These bands were unable to break into the mainstream, though they influenced many of the 1980s’ most popular groups. By the end of the decade, post rock had developed into math rock, while other genres like Riot grrl, slowcore (aka sadcore or shoegazing) and grunge music. During the early 1990s, grunge music broke into the mainstream in a big way. With “alternative” now mainstream, other bands began referring to themselves as indie rock. Many all-women bands are alternative, punk, post-punk, or riot grrl. Popular alternative rock bands today incorporate several different styles of music bringing a hybrid of sounds, e.g. Linkin Park.
In Jamaica during the 1950s, American R&B was most popular, though mento (a form of folk music) was more common in rural areas. A fusion of the two styles, along with soca and other genres, formed ska, an extremely popular form of music intended for dancing. In the 1960s, reggae and dub emerged from ska and American rock and roll.
Starting the late 1960s, a rock-influenced form of music began developing — this was called rocksteady. With some folk influences (both Jamaican and American), and the growing urban popularity of Rastafari, rocksteady evolved into what is now known as roots reggae. In the 1970s, a style called Lovers rock became popular primarily in the United Kingdom by British performers of ballad-oriented reggae music. The 1970s also saw the emergence of Two Tone in Coventry, England, with bands fusing ska and punk, as well as covering original ska tracks. Punk band The Clash also used Dub and reggae elements.
Dub emerged in Jamaica when sound system DJs began taking away the vocals from songs so that people could dance to the beat alone. Soon, pioneers like King Tubby and Lee Scratch Perry began adding new vocals over the old beats; the lyrics were rhythmic and rhyme-heavy. After the popularity of reggae died down in the early 1980s, derivatives of dub dominated the Jamaican charts. These included ragga and dance hall, both of which remained popular in Jamaica alone until the mainstream breakthrough of American gangsta rap (which evolved out of dub musicians like DJ Kool Herc moving to American cities). Ragga especially now has many devoted followers throughout the world.
Reggaeton is a fusion of reggae and rap, popular in Latin America, but gradually appearing in the mainstream charts.