Although the 'Tempo Spectrum' has some uses it is over-valued and much more subjective than it sounds. For example, if I have a tone of alternating note-lengths, do I calculate the BPM from the longer or shorter note? Or do I average it? And what if the speed changes, as is often the case?
The 'Inconsistency Spectrum' aims to organise them in a much more useful way that better describes the character of each track. Coincidentally, tracks further down this spectrum are harder to place on the 'Tempo Spectrum'. This still has some flaws though: it is even more subjective (which isn't too bad as art is subjective anyway). For example, a tiny segment of 'Murder Extratone' is more wild than a segment of 'Deep Sea Extratone', but overall, 'Murder Extratone' is quite consistent, as similar segments are repeated many times. Perhaps we should to look at consistency on different orders of magnitude, but then we'd need to write entire pages to describe any later-invented subgenres!!
At the limit this spectrum breaks down again. Obviously as we make the tracks wilder they tend towards noise/glitch, which taken further will become an indecipherable wall of noise as we break down all the consistent elements. The inconsistency is itself consistent, so perhaps a horseshoe shape would be better suited to showing this! Then what if we spice up the wall? We get back to into normal noise, so we're in a bit of a loop. But this isn't extratone so I don't care. :D
Anyway, hopefully this has given you some food-for-thought, maybe we can move slightly away from the tempo-obsessiveness and start describing our art-form in more meaningful ways, thinking more about the consistency, the techniques involved, how dance-able it is, etc. Extratone is sooooo much more interesting than "WOAH BIG BPM NUMBER".
