||This article needs additional citations for verification. (February 2007)|
|Stylistic origins||Detroit Techno,
Industrial hip hop
|Cultural origins||Early 1990s, Rotterdam|
|Typical instruments||Keyboard, Synthesizer, Drum machine, Sequencer, Sampler, Bitcrusher|
|Derivative forms||Mainstream hardcore|
|Speedcore, Terrorcore, Frenchcore|
|Netherlands, Germany, Belgium|
|Hardcore, Happy hardcore|
Gabber (pron.: //; Dutch: [ˈxɑbər]), retrospectively called early hardcore, is a style of electronic music and a subgenre of hardcore. "Gabber" is an Amsterdam slang word of Bargoens and Yiddish origin (cf. chaver) that means "mate", "buddy", "pal" or "friend".
The music got its name from an article in which the Amsterdam DJ K.C. the Funkaholic was asked how he felt about the harder Rotterdam house scene. He answered "They're just a bunch of gabbers having fun". DJ Paul Elstak from Rotterdam read this article and on the first Euromasters record (released through Rotterdam Records), he engraved in the vinyl "Gabber zijn is geen schande!" translating as "it's not a disgrace to be a gabber!". The word gained popularity in the Rotterdam house scene and people started to call themselves 'gabbers'.
The specific sound of Rotterdam was also created as a reaction to the house scene of Amsterdam which was seen as "snobby and pretentious". Though house tracks from Frankfurt's Marc Acardipane were quite similar to the Rotterdam style, it was the popularity of this music in the Netherlands which made Rotterdam the cradle of early hardcore. The essence of the early hardcore sound is a distorted bass drum sound, overdriven to the point where it becomes clipped into a distorted square wave and makes a recognizably melodic tone.
Often the Roland Alpha Juno or the kick from a Roland TR-909 was used to create this sound. Early hardcore tracks typically include samples and synthesised melodies with the typical tempo ranging from 180 to 220 bpm. Violence, drugs and profanity are common themes in early hardcore, perceptible through its samples and lyrics, often screamed, pitch shifted, or distorted.
Early hardcore was popular in many countries, including the Netherlands, Belgium, Switzerland, Germany, Austria, and Italy. In the late 1990s, the early hardcore became less popular than the Hardstyle. After surviving underground for a number of years, in 2002 the style reappeared in the Netherlands in a new form, the mainstream hardcore. The sound becomes more mature, darker, and industrial and derives.
The style is derived from the acid house and techno house styles from the late 1980s, but many within the core scene claim that it was diluted by 1995 mainly because of the mainstream variant called happy hardcore and, for hardcore fans, because of commercialization which resulted in a younger crowd being attracted to the scene. The commercial organization ID&T helped to make the music popular by organizing parties (most notable are the Thunderdome parties) and selling merchandise. The name gabber is used somewhat less these days to describe this music style, especially due to this stigma created in the mid 1990s.
Gabber is characterized by its bass drum sound. Essentially, it comes from taking a normal synthesized bass drum and over-driving it heavily. The approximately sinusoidal sample starts to clip into a square wave with a falling pitch. This results in a number of effects: the frequency spectrum spreads out, thus achieving a louder, more aggressive sound. It also changes the amplitude envelope of the sound by increasing the sustain. Due to the distortion, the drum also develops a melodic tone. It is not uncommon for the bass drum pattern to change pitch throughout the song to follow the bass line.
The second frequently used component of gabber tracks is the "hoover", a patch of the Roland Alpha Juno synthesizer. A "hoover" is typically a distorted, grainy, sweeping sound which, when played on a low key, can create a dark and brooding bass line. Alternatively, when played at higher pitches, the hoover becomes an aggressive, shrieking lead. Faster gabber tracks often apply extremely fast hoover-patterns.
In the early 1990s, gabber gained a following in the neo-fascist rave scenes of the Netherlands, Germany, Italy and the American Midwest. However, most gabber fans do not belong to the aforementioned groups, and many producers have released tracks that vocally speak out against racism. In addition, many prominent gabber DJs and producers are not white; examples include The Viper, Nexes, Bass-D, Loftgroover, DJ Gizmo, The Darkraver, Dark Twins, Bass Technician, MC Raw (of Rotterdam Terror Corps) and HMS.
Notable record labels 
See also 
- Simon Reynolds on the Hardcore Continuum: Introduction
- Bogdanov, Vladimir (2001). All Music Guide to Electronica: The Definitive Guide to Electronic Music (4th ed.). Backbeat Books. pp. x. ISBN 978-0879306281.
- Silcott, Mireille. Rave America: New School Dance Scapes. (Toronto: ECW Press, 1999), 114-117.
- United Hardcore Against Racism & Hate - Time to Make a Stand (HUR 001, Hardcore United Records, 2005. http://www.discogs.com/release/478145), DJ Chosen Few - Chosen Anthem (Against Racism)(MOK 8, Mokum Records 1993. http://www.discogs.com/release/21108) Party Animals feat. MC Rob Gee - Die Nazi Scum (MOK 54, Mokum Records 1996. http://www.discogs.com/release/21181) Hellcore - Fuck the Nazism (BDR-CD-02, Braindestruction Recordz, 2003. http://www.discogs.com/release/210584)