Not talking about the artistic quality of music but the genres themselves.

What do you seek in music that some genres don't give them to you or don't satisfy them?

 

I seek the straying from mediocrity. However, the very idea of a genre sort of undermines that, since genre's are defined by their conventions. So I guess I'm satisfied when I hear something new, exciting, and interesting that has never been done before.

Therefore, I strive to create my own genre's, not perpetuate existing ones. Something I think more producers should think about. Satisfy your own musical needs by creating something totally new. Enough with chasing trends.

 

i guess it's all down to what you think 'like' means.
music affects me in more a gestalt way than other art forms, say literature. it borrows and melds emotion, rational ( abstract) thinking, can affect your physical being profoundly.. so to say dislike is to say, in large part, that i'm not 'affected' in a way which you i would be when hearing music i like ( often i could say 'love').
i don't like Country music as a rule. i really cannot tell you why. i don't like Opera possibly because it is a 'form' that i haven't learned to appreciate? it's interesting that i like some classical stuff more as i have gotten older.
i am not a particular fan of rock but think the Pixies are god-like. i suppose that labelling something in a genre is a way of fencing off in your mind music that you do or do not like or affected/unaffected by.
so to say i don't like country is a very broad way to classify like/dislike but it is in no way fair to say i do not dislike ALL or like SOME country music and on occassion a great deal.

 

i don't think it depends on genre, it actually depends on the artist and how creative within the common knowledge boundaries within a genre itself, that's more or less an evolution of music. some genre's got it's brand from techniques that you apply within the industry etc, and other genres got it from emotionally/intuitive made up ideas, say "dark" "heavy".

 

I love all genres as long as it brings something to the table.

 

I'm a happy person but I can't like happy songs. They seems me unnatural. I don't know. But I listen almost every genre if song has feeling.
Most genres I listen: Dream Pop, Post Punk, Singer-Songwriter, Downtempo / I think because this genres have both real instruments and synthesizers. And many songs in these genres are melancholic.

 

Because genre is an artificial partitioning of music. It's the days when IndustrialTechnoGrungeTrance being claimed better than PsybientJazzHouseHop that I live in dread of. Genres are a prison for your own mind.

It's good or its not.

 

for sure! but it'll be a little hard for people going to record-stores or as today buying music online with queries like "hey do you know that kind of music where they play double-kick drums at 240bpm constantly, and yell for the devil, and also plays the sax with their feet?" it's easier to keep things as you put, just plain simple, whatever they do within that genre is merely up to creativity, Death metal for example was pretty damn plain, bordering on Black metal almost, just because they've for example upped the ante with riffs and such they had to put the term "technical" infront, which is just.. ridiculous, - it's either just good or not.

 

And how many times have you gone to record store and asked a question like that? The first time I noticed Adele, I was driving a car listening to the radio and thought who the frig is that?! It's not a syle of music I particularly like but she elevates it to an entirely different level.

You can classify styles by all means, you couldn't mix classical with punk, obviously, but it when it becomes infinitesimal hair spliiting around permissible swing, tempo, instrumentation and themes, it is just redundant. If you'd been at the birth of techno and witnessed the ever more deranged arguments as house split from detroit, acid and fork knows what, or whtever borders you want to set around music, it just becomes ever tinier and increasingly futile youth tribes, wearing badges of identity. Take your pick and find me the good stuff:

• Alternative
  • Art Punk
  • Alternative Rock
  • College Rock
  • Crossover Thrash (thx Kevin G)
  • Crust Punk (thx Haug)
  • Experimental Rock
  • Folk Punk
  • Goth / Gothic Rock
  • Grunge
  • Hardcore Punk
  • Hard Rock
  • Indie Rock
  • Lo-fi (hat tip to Ben Vee Bedlamite)
  • New Wave
  • Progressive Rock
  • Punk
  • Shoegaze (with thx to Jackie Herrera)
  • Steampunk (with thx to Christopher Schaeffer)
• Anime
• Blues
  • Acoustic Blues
  • Chicago Blues
  • Classic Blues
  • Contemporary Blues
  • Country Blues
  • Delta Blues
  • Electric Blues
  • Ragtime Blues (cheers GFS)
• Children’s Music
  • Lullabies
  • Sing-Along
  • Stories
• Classical
  • Avant-Garde
  • Baroque
  • Chamber Music
  • Chant
  • Choral
  • Classical Crossover
  • Contemporary Classical (thx Julien Palliere)
  • Early Music
  • Expressionist (thx Mr. Palliere)
  • High Classical
  • Impressionist
  • Medieval
  • Minimalism
  • Modern Composition
  • Opera
  • Orchestral
  • Renaissance
  • Romantic (early period)
  • Romantic (later period)
  • Wedding Music
• Comedy
  • Novelty
  • Standup Comedy
  • Vaudeville (cheers Ben Vee Bedlamite)
• Commercial (thank you Sheldon Reynolds)
  • Jingles
  • TV Themes
• Country
  • Alternative Country
  • Americana
  • Bluegrass
  • Contemporary Bluegrass
  • Contemporary Country
  • Country Gospel
  • Country Pop (thanks Sarah Johnson)
  • Honky Tonk
  • Outlaw Country
  • Traditional Bluegrass
  • Traditional Country
  • Urban Cowboy
• Dance (EDM – Electronic Dance Music – see Electronic below – with thx to Eric Shaffer-Whiting & Drew )
  • Club / Club Dance (thx Luke Allfree)
  • Breakcore
  • Breakbeat / Breakstep
  • Brostep (cheers Tom Berckley)
  • Chillstep (thx Matt)
  • Deep House (cheers Venus Pang)
  • Dubstep
  • Electro House (thx Luke Allfree)
  • Electroswing
  • Exercise
  • Future Garage (thx Ran’dom Haug)
  • Garage
  • Glitch Hop (cheers Tom Berckley)
  • Glitch Pop (thx Ran’dom Haug)
  • Grime (thx Ran’dom Haug / Matthew H)
  • Hardcore
  • Hard Dance
  • Hi-NRG / Eurodance
  • Horrorcore (thx Matt)
  • House
  • Jackin House (with thx to Jermaine Benjamin Dale Bruce)
  • Jungle / Drum’n’bass
  • Liquid Dub(thx Ran’dom Haug)
  • Regstep (thanks to ‘Melia G)
  • Speedcore (cheers Matt)
  • Techno
  • Trance
  • Trap (thx Luke Allfree)
• Disney
• Easy Listening
  • Bop
  • Lounge
  • Swing
• Electronic
  • 2-Step (thx Ran’dom Haug)
  • 8bit – aka 8-bit, Bitpop and Chiptune – (thx Marcel Borchert)
  • Ambient
  • Bassline (thx Leon Oliver)
  • Chillwave(thx Ran’dom Haug)
  • Chiptune (kudos to Dominik Landahl)
  • Crunk (with thx to Jillian Edwards)
  • Downtempo
  • Drum & Bass (thx Luke Allfree)
  • Electro
  • Electro-swing (thank you Daniel Forthofer)
  • Electronica
  • Electronic Rock
  • Hardstyle (kudos to Dominik Landahl)
  • IDM/Experimental
  • Industrial
  • Trip Hop (thank you Michael Tait Tafoya)
• Enka
• French Pop
• German Folk
• German Pop
• Fitness & Workout
• Hip-Hop/Rap
  • Alternative Rap
  • Bounce
  • Dirty South
  • East Coast Rap
  • Gangsta Rap
  • Hardcore Rap
  • Hip-Hop
  • Latin Rap
  • Old School Rap
  • Rap
  • Turntablism (thank you Luke Allfree)
  • Underground Rap
  • West Coast Rap
• Holiday
  • Chanukah
  • Christmas
  • Christmas: Children’s
  • Christmas: Classic
  • Christmas: Classical
  • Christmas: Comedy
  • Christmas: Jazz
  • Christmas: Modern
  • Christmas: Pop
  • Christmas: R&B
  • Christmas: Religious
  • Christmas: Rock
  • Easter
  • Halloween
  • Holiday: Other
  • Thanksgiving
• Indie Pop
• Industrial
• Inspirational – Christian & Gospel
  • CCM
  • Christian Metal
  • Christian Pop
  • Christian Rap
  • Christian Rock
  • Classic Christian
  • Contemporary Gospel
  • Gospel
  • Christian & Gospel
  • Praise & Worship
  • Qawwali (with thx to Jillian Edwards)
  • Southern Gospel
  • Traditional Gospel
• Instrumental
  • March (Marching Band)
• J-Pop
  • J-Rock
  • J-Synth
  • J-Ska
  • J-Punk
• Jazz
  • Acid Jazz (with thx to Hunter Nelson)
  • Avant-Garde Jazz
  • Bebop (thx Mwinogo1)
  • Big Band
  • Blue Note (with thx to Jillian Edwards)
  • Contemporary Jazz
  • Cool
  • Crossover Jazz
  • Dixieland
  • Ethio-jazz (with thx to Jillian Edwards)
  • Fusion
  • Gypsy Jazz (kudos to Mike Tait Tafoya)
  • Hard Bop
  • Latin Jazz
  • Mainstream Jazz
  • Ragtime
  • Smooth Jazz
  • Trad Jazz
• K-Pop
• Karaoke
• Kayokyoku
• Latin
  • Alternativo & Rock Latino
  • Argentine tango (gracias P. Moth & Sandra Sanders)
  • Baladas y Boleros
  • Bossa Nova (with thx to Marcos José Sant’Anna Magalhães & Alex Ede for the reclassification)
  • Brazilian
  • Contemporary Latin
  • Cumbia (gracias Richard Kemp)
  • Flamenco / Spanish Flamenco (thank you Michael Tait Tafoya & Sandra Sanders)
  • Latin Jazz
  • Nuevo Flamenco (and again Michael Tafoya)
  • Pop Latino
  • Portuguese fado (and again Sandra Sanders)
  • Raíces
  • Reggaeton y Hip-Hop
  • Regional Mexicano
  • Salsa y Tropical
• New Age
  • Environmental
  • Healing
  • Meditation
  • Nature
  • Relaxation
  • Travel
• Opera
• Pop
  • Adult Contemporary
  • Britpop
  • Bubblegum Pop (thx Haug & John Maher)
  • Chamber Pop (thx Haug)
  • Dance Pop
  • Dream Pop (thx Haug)
  • Electro Pop (thx Haug)
  • Orchestral Pop (thx Haug)
  • Pop/Rock
  • Pop Punk (thx Makenzie)
  • Power Pop (thx Haug)
  • Soft Rock
  • Synthpop (thx Haug)
  • Teen Pop
• R&B/Soul
  • Contemporary R&B
  • Disco (not a top level genre Sheldon Reynolds!)
  • Doo Wop
  • Funk
  • Modern Soul (Cheers Nik)
  • Motown
  • Neo-Soul
  • Northern Soul (Cheers Nik & John Maher)
  • Psychedelic Soul (thank you John Maher)
  • Quiet Storm
  • Soul
  • Soul Blues (Cheers Nik)
  • Southern Soul (Cheers Nik)
• Reggae
  • 2-Tone (thx GFS)
  • Dancehall
  • Dub
  • Roots Reggae
  • Ska
• Rock
  • Acid Rock (with thanks to Alex Antonio)
  • Adult-Oriented Rock (thanks to John Maher)
  • Afro Punk
  • Adult Alternative
  • Alternative Rock (thx Caleb Browning)
  • American Trad Rock
  • Anatolian Rock
  • Arena Rock
  • Art Rock
  • Blues-Rock
  • British Invasion
  • Cock Rock
  • Death Metal / Black Metal
  • Doom Metal (thx Kevin G)
  • Glam Rock
  • Gothic Metal (fits here Sam DeRenzis – thx)
  • Grind Core
  • Hair Metal
  • Hard Rock
  • Math Metal (cheers Kevin)
  • Math Rock (thx Ran’dom Haug)
  • Metal
  • Metal Core (thx Ran’dom Haug)
  • Noise Rock (genre – Japanoise – thx Dominik Landahl)
  • Jam Bands
  • Post Punk (thx Ben Vee Bedlamite)
  • Prog-Rock/Art Rock
  • Progressive Metal (thx Ran’dom Haug)
  • Psychedelic
  • Rock & Roll
  • Rockabilly (it’s here Mark Murdock!)
  • Roots Rock
  • Singer/Songwriter
  • Southern Rock
  • Spazzcore (thx Haug)
  • Stoner Metal (duuuude)
  • Surf
  • Technical Death Metal (cheers Pierre)
  • Tex-Mex
  • Time Lord Rock (Trock) ~ (thanks to ‘Melia G)
  • Trash Metal (thanks to Pierre A)
• Singer/Songwriter
  • Alternative Folk
  • Contemporary Folk
  • Contemporary Singer/Songwriter
  • Indie Folk (with thanks to Andrew Barrett)
  • Folk-Rock
  • Love Song (Chanson – merci Marcel Borchert)
  • New Acoustic
  • Traditional Folk
• Soundtrack
  • Foreign Cinema
  • Movie Soundtrack (thanks Julien)
  • Musicals
  • Original Score
  • Soundtrack
  • TV Soundtrack
• Spoken Word
• Tex-Mex / Tejano (with thx to Israel Lopez)
  • Chicano
  • Classic
  • Conjunto
  • Conjunto Progressive
  • New Mex
  • Tex-Mex
• Vocal
  • A cappella (with kudos to Sheldon Reynolds)
  • Barbershop (with thx to Kelly Chism)
  • Doo-wop (with thx to Bradley Thompson)
  • Gregorian Chant (hat tip to Deborah Knight-Nikifortchuk)
  • Standards
  • Traditional Pop
  • Vocal Jazz
  • Vocal Pop
• World
  • Africa
  • Afro-Beat
  • Afro-Pop
  • Asia
  • Australia
  • Cajun
  • Calypso (thx Gerald John)
  • Caribbean
  • Carnatic (Karnataka Sanghetha – thx Abhijith)
  • Celtic
  • Celtic Folk
  • Contemporary Celtic
  • Coupé-décalé (thx Samy) – Congo
  • Dangdut (thank you Achmad Ivanny)
  • Drinking Songs
  • Drone (with thx to Robert Conrod)
  • Europe
  • France
  • Hawaii
  • Hindustani (thank you Abhijith)
  • Indian Ghazal (thank you Gitika Thakur)
  • Indian Pop
  • Japan
  • Japanese Pop
  • Klezmer
  • Mbalax (thank you Samy) – Senegal
  • Middle East
  • North America
  • Ode (thank you Sheldon Reynolds)
  • Piphat (cheers Samy B) – Thailand
  • Polka
  • Soca (thx Gerald John)
  • South Africa
  • South America
  • Traditional Celtic
  • Worldbeat
  • Zydeco

 

Some genres of music will speak to the heart or grate on the nervous system because of a person's emotional or intellectual constitution. Myself, I'm pretty open to anything, but when music of a genre become bound too much by the conventions of that genre, or when that genre seems to consist of nothing but conventions and quotations of "that style," it sounds soulless and gimmicky. When all I hear are glaring conventions and quotations (such as indie-rock bands who cram as many Beatles chord changes into a song as they can), I'm outathere. I shall cite a few examples.

Hip-Hop has hoed the same row for decades and exhausted all the nutrients in that soil. It's been done-to-death and hasn't any of the musicality and poetry, and sometimes humor, that had made it vital and vibrant during its first decade.

Likewise with the Alternarock thing. It's a haven for white kids with low-but-arty standards who think it's cool not to be able to carry a tune in a bucket, and to be able to trace one's musical lineage back to the Velvet Underwear or the Stooges, or for guys who sing like girls and wish they'd been in Radiohead. The "eunuch" phenomenon is insufferable, the singer for Grizzly Bear being the extreme example. On the other hand, there's that vocalist for The National, a band which obligingly accommodates his expressionless single-octave baritone. Also, the whole guys/gals-posing-for-band-photos thing is really old. I see a posed band-portrait, and I don't want to hear the band.

Country music hasn't been good since the '70s, though it was during the latter half of that decade when it started merging with Pop music for broadened commerciality - with the exception of the "Outlaw" singers (Waylon and Willie and the boys) who gravitated toward Austin in the later '70s, and Merle Haggard. There's so much ridiculous affectation in the vocal mannerisms - all the forced drawling. The genre also seems to presuppose the characteristics of its audience more than most genres do; it also seems to blatantly encourage a specific mentality among its audience – though the aforementioned codified genres of music also seem to encourage certain attitudes and manners of comportment as standardized as the music itself.

Punk Rock bands from the era of its genesis still sound great, but thereafter, they sound like Civil War re-enactors. This really was a music "of" a generation or particular crop o' kids. It's the music of a certain cultural glitch in a particular time in history. Given that that glitch got smoothed-over and things went back to being as though such a thing had never occurred, it's ridiculous for anyone born after 1965 to be attempting to play this music, for much the same reason why it's ridiculous for old Punk Rock bands from '76–'84 to be playing "reunion" gigs or tours.

Truth be told, the last musician about whom I was really excited was Chris Whitley, who could do something segue from a prison-blues song to a Prince song with ease:

The "problem" with Chris as an artist was that he was umarketable; his music defied strict categorization and convention. He played blues-based music, but not blues-rock - he was too bluesy or too rocky for that. Too unique and authentic; incapable of pulling-off anything but being himself, which got him only so far in the Music Industry. All of the genres I cited were eventually killed by enforced marketability and being produced in consideration of the Marketplace.

I forgot to mention Emo and its derivatives? Fuck, that's some awful shit. "Nya-nya-nya-nya-nya-nya!"

 

dude or dudess, listen!
i think you missed the point here, i agreed completely with your previous statement, that's why i made up that lame sentence, i took death metal as an example.

You know Venom doesn't really sound like the death/black metal today, even though death metal today is just as death metal as in the past, they've just became better drummers/guitarist because of the accessibility to inspiration.. guitars are still guitars and not violins, that's why i though it was ridiculous to add the term "technical" before the genre, just because they became better drummers/guitarist and drew inspiration from whatever. i think those kind of stretch-terms are lame.

 

Philistines. That list, it is woefully incomplete.

Fails to include the only genre relevant today,
#atonal spoken word jazz.

 

I guess preference for a given genre is at least in part cultural. You learn to listen to such and such genres, as part of your environment, where you grow up, the friends you have, how musical your family is. When I was growing up in the 80s, the mainstream music world was divided between headbangers and new wavers. The divide was firepowder to lots of hatred that more than once it resulted in violence and gang fights. All this happened in a latin country where the main musical presence was salsa, cumbia, and Andean folk music. Nowadays the walls have come down and there's lots of crossover music, which makes it hard for people to like just one thing. In fact, I'm learning to braoden my musical horizons and embrace more styles. That was a no-go in my teens. Furthermore, there's one other thing that triumphs over any genre: quality song writing. Goods songs trascend genres and in fact get covered in different genres and find their way to newer generations of music listeners.

 

genre does not matter
genre does not impact the listener very much

if there is a beat or melody or harmony you love, changing the "sound" to another instrument or the drums to another drumkit has no impact on you liking it.
if you loved a melody you first heard on guitar , hearing it on the voice or saxophone or tuba instead, you won't love it any less.

genre just a way to find music when you the listener goes to look for it thats it. no other purpose to genre
its a way to "sell" a collection of sounds, and a way to "buy" a collection of sounds.
the whole focus on genre is a monetary related concept not a musical.

 

As a common denominator, i would say i don't like genres promoted by mainsteam medias.
It is like junk food : it is junk music.
Money kills creativity, for thousands years.

If a genre is "mainstream", it means i'm listening to money makers... even if good artists are behind.
That's why i stopped listening to mainstream music at least 20 years ago.

Now, i listen to technical metal, industrial goth, cyber metal...
Along completely different genres : celtic guitar, old school reggae and more.

When i smell money behind music ... i simply run away

PS : there are exceptions to my rule, like Depeche Mode

 

Traditional Folk = Critical Damage

 

i would like to share some thoughts too :

To me it is all a matter of perception & personal view... & choice
Let me give some examples :

To every friend that i introduced them to this i got back mixed feelings & thoughts,some said it is scary,some said it is funny,some said it is creative :

To every friend that i introduced them to this said it is a true gem & thanked me :

To every girl i showed this song,gave me a kiss :

Imho for me right now this is art both visually & sonically :

@foster911 love you man your question reminded me of this,also all the answers are in you,follow your intuition
to conclude everything in life as in music is a matter of choice at least for me :

 

Last edited by a moderator: Feb 5, 2018

I have a hard time getting into jazz for some reason.. There isn't the simple sort of melody that I can actually grab on to that I like. I'm just too dumb for jazz... Jazz chopped and sampled into hip hop is different though.