Every genre below is played from live Kaspa blocks. The chain does not pick the notes at random: transaction volume and DAG width become energy, orphan blocks queue drum fills, and blue-score milestones change key. Switching genre keeps the song — same key, same progression, same place in the form — and changes only the arrangement.
Each link opens the app playing that genre.
88 BPM · minor · lofi / acoustic
The boom-bap reference. Swung sixteenths, a lazy kick that lands just behind where you expect it, a Rhodes that holds each chord for half a bar the way a sampled loop would, a music-box bell for the hook and a sub that only moves when the chord does. The ghost notes on the snare are doing most of the work: they are what stops a programmed beat sounding programmed.
140 BPM · minor · 808 / acoustic
Half-time at 140, which means the snare lands on three and the whole thing feels like 70 while the hats run at double speed. The 808 is the bass and the melody at once: it slides between notes, and that slide is the genre.
142 BPM · minor · 808 / acoustic
Trap's darker cousin. The 808 slides on eighth-note triplets, which is what makes drill lope where trap marches, and the piano stab is left deliberately bare: two or three notes, plenty of space around them.
92 BPM · minor · 808 / acoustic
The straight one. No swing, a kick that answers the snare, and enough room in the middle for a voice that is not there. Everything is deliberately sparse: this is the genre that has to leave space.
78 BPM · minor · acoustic / pop
Slow, swung, and built around the Rhodes. The ghost notes on the snare are doing the work that a drummer's left hand does: they are what stops this sounding like a drum machine playing a slow beat.
124 BPM · minor · 909 / acoustic
The four-on-the-floor reference. The kick is straight and the hats are swung, which is the trick that makes house roll instead of march. The bass bounces an octave and ducks hard under every kick: that pumping is not a side effect of compression here, it is the arrangement, and it is most of what the genre sounds like.
120 BPM · minor · 909 / acoustic
House with the lights down. Softer clap, rounder sub, a Rhodes that never stabs, and an open hat doing most of the moving. The ducking is lighter than club house: it should breathe, not pump.
126 BPM · minor · 909 / acoustic
The percussion is the tune. A minimal bass, a stab that barely changes, and a perc lane that moves every other bar so the loop never quite repeats. Tight, dry and relentless.
134 BPM · phrygian · 909 / acoustic
One chord, held, while everything else does the work. The bass rolls in sixteenths, the ride never stops once the energy is up, and the sidechain is deep enough that the kick carves a hole in every bar.
138 BPM · minor · 909 / 808
A supersaw, a gated sixteenth arpeggio and a breakdown that takes its time. The sidechain is deep and the reverb is long, so the whole track breathes once a beat.
110 BPM · minor · 909 / rock
A gated snare on two and four, an arpeggio running underneath, and a supersaw over the top with far more reverb than is strictly sensible. The tempo is slow and the note count is high, which is the whole aesthetic.
136 BPM · minor · 909 / acoustic
Two-step with the hats swung hard, at 62 percent. That swing is the entire genre: straighten it and this is just house with a gap in it. The organ stabs sit on the offbeats and the sub follows the chord, not the kick.
174 BPM · minor · acoustic / 909
The breakbeat reference. 174 BPM, two-step: kick on one and the "and" of three, snare on two and four, and a reese underneath that is really two detuned saws fighting each other through a filter. Dead straight — no swing at all — because at this tempo the space between the kick and the snare is the groove.
140 BPM · minor · 808 / 909
Half time, so the snare falls on three and nothing else does. The bass is a reese with its filter swung by a tempo-locked LFO, which is the wobble, and it is most of what anyone came for.
132 BPM · minor · acoustic / 909
A syncopated kick and a snare that stays put, which is the whole trick: the backbeat holds still while everything under it moves. The bass is a funk line rather than a pad, so the low end syncopates too.
74 BPM · major · acoustic / lofi
The one drop. There is no kick on beat one; the whole bar leans on three, and the space where the downbeat should be is the genre. The guitar skank plays only on the offbeats, and the bass is more silence than notes.
72 BPM · minor · acoustic / lofi
Reggae with most of it taken away and the echo turned up. The delay is the instrument here: long, fed back, and darker on every repeat. The bass drops out at the end of each phrase, which is the oldest trick in the genre.
100 BPM · minor · 808 / acoustic
Reggae's loud descendant. A four-square kick, a rim on the offbeat and a sub that sits on the root and stays there. Everything is forward and dry; the space reggae leaves is filled in.
94 BPM · minor · 808 / latin
The dembow. Kick on every beat, snare on the offbeats in a three-three-two shape, and a shaker underneath running sixteenths. The pattern barely changes across a whole track, so everything else has to move.
180 BPM · major · latin / acoustic
Fast, and built on the clave, which the rim plays as a three-two pattern across two bars. The bass tumbao deliberately avoids beat one: it hits the "and" of two and holds the root over the bar line, which is what makes salsa pull forward instead of sitting down.
96 BPM · minor · latin / acoustic
The walk. Kick on one and three, and a güira scraping the offbeats the whole way through, which is the sound everyone recognises before they know the name. The accordion part is an organ here, playing the same repeating figure a squeezebox would.
132 BPM · major · brush / acoustic
Quiet on purpose. Brushes, a rim playing the clave, a nylon guitar comping in a pattern that never quite lands where you expect, and a bass in two rather than four. Nothing here is loud, and the restraint is the point: play bossa hard and it becomes a rumba.
106 BPM · major · latin / acoustic
The kick lands in three places that are none of them the obvious ones, and a shaker runs sixteenths underneath to hold it together. The bass is melodic rather than rhythmic: it plays a line, not a pulse.
112 BPM · minor · amapiano / 909
The log drum is the bass line, the melody and the hook at once: a short, pitched, wooden thump that plays the syncopation the kick refuses to. Over it, a jazzy pad and a shaker, and almost nothing else.
92 BPM · major · acoustic / brush
An organ, a Rhodes and strings, all playing at once and all leaving room for each other. The kick sits slightly behind the beat, which is what "laid back" means when a drummer says it.
104 BPM · dorian · acoustic / pop
Everything is on the one, and everything else is in the gaps. The sixteenth hats never stop, the clav answers the bass, and the ghost notes between the backbeats are most of what makes it move.
122 BPM · minor · acoustic / 909
Four on the floor with the open hat on every offbeat, an octave bass that never rests, and strings over the top. The hat is the metronome and the bass is the melody; between them there is almost no silence anywhere.
130 BPM · dorian · brush / acoustic
The ride cymbal is the whole clock. Swung eighths, a walking bass that lands on every beat and approaches the next chord by a semitone, and comping that deliberately avoids the downbeat. The ride's round-robin is not optional here: a jazz ride that repeats exactly is unlistenable.
72 BPM · blues · acoustic / brush
Twelve bars, three chords, all of them dominant sevenths, and a shuffle underneath that never straightens out. The progression is fixed and everyone knows where it goes, which is exactly why what happens on top of it matters so much.
76 BPM · major · acoustic / brush
Twelve-eight, which means everything is in threes, and an organ that fills every space the voices leave. The chords move more than in any other genre here: passing chords, borrowed minors and a turnaround at the end of every phrase.
108 BPM · major · pop / acoustic
The most arranged of them all. A clap layered over the snare, a piano carrying the chords, a vocal chop on the hook, and a chorus that is audibly bigger than the verse. Nothing is difficult; everything is in its place.
120 BPM · mixolydian · rock / acoustic
Power chords, double-tracked. Two takes of the same part detuned eight cents apart and panned hard left and right is what makes a guitar sound wide; one take in the middle sounds like a demo.
100 BPM · major · acoustic / brush
A train beat, an alternating bass on the root and the fifth, a bright twanging guitar and a pedal steel that slides into every note it plays. The steel's glide is the giveaway: nothing else does that.
160 BPM · phrygian · rock / acoustic
Sixteenth chugs, double kick underneath, and a gain setting three times anything else here. The palm mute is not a quieter chord: it is a different sound, a closed filter and an envelope that stops dead.
Any genre can be watched through any of them.