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Article is UK breakbeat hardcore, T99 belongs to hardcore techno articles. Remove non-notable 2 Kilos entry
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{{Main|Rave}}
{{Main|Rave}}
[[File:Fantazia Summertime Rave.jpg|thumb|Fantazia Summertime rave, May 1992]]
[[File:Fantazia Summertime Rave.jpg|thumb|Fantazia Summertime rave, May 1992]]
The [[rave]] scene expanded rapidly in the very early [[1990s in music|1990s]], both at [[Nightclub|clubs]] up and down the country including [[Labrynth (club)|Labrynth]], [[Shelley's Laserdome]], [[The Eclipse (club)|The Eclipse]], and [[Sanctuary Music Arena]], and large raves in [[Warehouse]]s and in the open air attracting 20–50,000 whether put on legally from promoters such as [[Fantazia (rave music promoter)|Fantazia]] and [[Raindance (rave music promoter)|Raindance]], or unlicensed by [[free party]] [[Sound system (DJ)|sound systems]] such as [[Spiral Tribe]]. Breakbeat hardcore drew its melting pot of sound from a vast array of influences – from [[new beat]] and [[Belgian techno]] that had for a short period been prominent in the UK [[rave music|rave]] scene, to [[house music|house]] and [[acid house]], and furthermore drawing on [[hip hop music|hip hop]] and [[reggae]] culture.<ref>{{Cite book|last = Reynolds|first = Simon|title = Energy Flash: A Journey Through Rave Music and Dance Culture|year = 1998|publisher = Picador|quote = Influenced by reggae and hip hop, hardcore producers intensified the sub-bass frequencies, used looped breakbeats to funk up house's four-to-the-floor machine-beat, and embraced sampling with deranged glee. Following the lead of the bombastic Belgians and Germans, UK producers deployed riff-like 'stabs' and bursts of glaring noise.}}</ref><ref>{{Cite book|last = Reynolds|first = Simon|title = Energy Flash: A Journey Through Rave Music and Dance Culture|year = 1998|publisher = Picador|quote = Between 1990 and 1993, hardcore in Britain referred by turns to the Northern bleep-and-bass sound of Warp and Unique 3, to the hip-house and ragga-techno sounds of the Shut Up And Dance label, to the anthemic pop-rave of acts like N-Joi and Shades of Rhythm, to Belgian and German brutalist techno, and, finally to the breakbeat-driven furore of hardcore jungle.}}</ref> [[T99]] were a Belgian music group best known for their song "Anasthasia",<ref name="LarkinDM">{{cite book|title=[[Encyclopedia of Popular Music|The Virgin Encyclopedia of Dance Music]]|editor=[[Colin Larkin (writer)|Colin Larkin]]|publisher=[[Virgin Books]]|date=1998|edition=First|isbn=0-7535-0252-6|page=333}}</ref> which reached number 14 in the [[UK Singles Chart]] in May 1991.
The [[rave]] scene expanded rapidly in the very early [[1990s in music|1990s]], both at [[Nightclub|clubs]] up and down the country including [[Labrynth (club)|Labrynth]], [[Shelley's Laserdome]], [[The Eclipse (club)|The Eclipse]], and [[Sanctuary Music Arena]], and large raves in [[Warehouse]]s and in the open air attracting 20–50,000 whether put on legally from promoters such as [[Fantazia (rave music promoter)|Fantazia]] and [[Raindance (rave music promoter)|Raindance]], or unlicensed by [[free party]] [[Sound system (DJ)|sound systems]] such as [[Spiral Tribe]]. Breakbeat hardcore drew its melting pot of sound from a vast array of influences – from [[new beat]] and [[Belgian techno]] that had for a short period been prominent in the UK [[rave music|rave]] scene, to [[house music|house]] and [[acid house]], and furthermore drawing on [[hip hop music|hip hop]] and [[reggae]] culture.<ref>{{Cite book|last = Reynolds|first = Simon|title = Energy Flash: A Journey Through Rave Music and Dance Culture|year = 1998|publisher = Picador|quote = Influenced by reggae and hip hop, hardcore producers intensified the sub-bass frequencies, used looped breakbeats to funk up house's four-to-the-floor machine-beat, and embraced sampling with deranged glee. Following the lead of the bombastic Belgians and Germans, UK producers deployed riff-like 'stabs' and bursts of glaring noise.}}</ref><ref>{{Cite book|last = Reynolds|first = Simon|title = Energy Flash: A Journey Through Rave Music and Dance Culture|year = 1998|publisher = Picador|quote = Between 1990 and 1993, hardcore in Britain referred by turns to the Northern bleep-and-bass sound of Warp and Unique 3, to the hip-house and ragga-techno sounds of the Shut Up And Dance label, to the anthemic pop-rave of acts like N-Joi and Shades of Rhythm, to Belgian and German brutalist techno, and, finally to the breakbeat-driven furore of hardcore jungle.}}</ref>


=== Mid-1990s: fragmentation ===
=== Mid-1990s: fragmentation ===
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* "[[Let Me Be Your Fantasy]]" – [[Baby D (dance group)|Baby D]] (Production House, 1992)
* "[[Let Me Be Your Fantasy]]" – [[Baby D (dance group)|Baby D]] (Production House, 1992)
* "Loves Got to Be Free" - [[Noise Factory (group)|Noise Factory]] (XL Recordings/Ibiza, 1992)
* "Loves Got to Be Free" - [[Noise Factory (group)|Noise Factory]] (XL Recordings/Ibiza, 1992)
* "Mohamed's Mind" - 2 Kilos (Radioactive Lamb, 1990)
* "Music Takes You" - [[Blame (music producer)|Blame]] ([[Moving Shadow]], 1991)
* "Music Takes You" - [[Blame (music producer)|Blame]] ([[Moving Shadow]], 1991)
* "NHS (Disco Remix)" – [[Doc Scott]] (Absolute 2, 1992)
* "NHS (Disco Remix)" – [[Doc Scott]] (Absolute 2, 1992)

Revision as of 13:46, 15 March 2023

Not to be confused with Breakcore.

This article is about the UK rave genre. For the later European genre, see Breakcore.
Breakbeat hardcore
Stylistic origins
Cultural originsLate 1980s – early 1990s, United Kingdom
Derivative forms

Breakbeat hardcore (also referred to as hardcore rave, oldskool hardcore or simply hardcore) is a music genre that spawned from the UK rave scene during the early 1990s. It combines four-on-the-floor rhythms with breakbeats usually sampled from hip hop. In addition to the inclusion of breakbeats, the genre also features shuffled drum machine patterns, hoover, and other noises originating from new beat, sounds from acid house and bleep techno, and often upbeat house piano riffs and vocals.[1]

History

Early 1990s: origins

Main article: Rave
Fantazia Summertime rave, May 1992

The rave scene expanded rapidly in the very early 1990s, both at clubs up and down the country including Labrynth, Shelley's Laserdome, The Eclipse, and Sanctuary Music Arena, and large raves in Warehouses and in the open air attracting 20–50,000 whether put on legally from promoters such as Fantazia and Raindance, or unlicensed by free party sound systems such as Spiral Tribe. Breakbeat hardcore drew its melting pot of sound from a vast array of influences – from new beat and Belgian techno that had for a short period been prominent in the UK rave scene, to house and acid house, and furthermore drawing on hip hop and reggae culture.[2][3]

Mid-1990s: fragmentation

By late 1992, breakbeat hardcore started to fragment into a number of subsequent genres: darkcore (piano rolls giving way to dark-themed samples and stabs), hardcore jungle (where reggae basslines and samples became prominent), and happy hardcore (retaining piano rolls and more uplifting vocals).[4]

2000s: revival

In the 2000s, the style experienced a revival as part of the nu-rave scene.

Hardcore breaks is a style of breakbeat hardcore that appeared in early-to-mid 2000s as part of growing nu-rave scene. The style is inspired by the sound and characteristics of old school breakbeat, while being fused with modern production techniques that distinguish the genre from the classic hardcore breakbeat sound.[5] The music is composed of looped, edited and processed breakbeat samples, intense bassline sounds, melodic piano lines, staccato synthesizer riffs, and various vocal samples (mostly taken from old house records). The speed of this genre typically fell between the range of 145–155 bpm, while the speed may variate on live sets. Originally being produced by a small group of artists with the vision of carrying on where oldskool hardcore left off before the jungle and happy hardcore split using new production techniques and technology, its appeal has now expanded to include artists from the original breakbeat hardcore scene creating new productions.[6] By the late 2000s, hardcore breaks tend to be produced and played at a bit faster tempos, often between 160–180 bpm. Therefore, it is often played at UK hardcore, freeform hardcore and drum and bass events.

Notable releases

Notable releases include:[7][8][9][10][11][12][13][14]

See also

References

  1. ^ Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. Picador. 1990 also saw the genesis of a distinctively British rave sound, 'hard core', which decisively broke with the mould of Detroit and Chicago, and ended the dependency on American imports. By 1991 this underground sound – actually a confederacy of hybrid genres and regional styles – was assaulting the mainstream pop charts.
  2. ^ Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. Picador. Influenced by reggae and hip hop, hardcore producers intensified the sub-bass frequencies, used looped breakbeats to funk up house's four-to-the-floor machine-beat, and embraced sampling with deranged glee. Following the lead of the bombastic Belgians and Germans, UK producers deployed riff-like 'stabs' and bursts of glaring noise.
  3. ^ Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. Picador. Between 1990 and 1993, hardcore in Britain referred by turns to the Northern bleep-and-bass sound of Warp and Unique 3, to the hip-house and ragga-techno sounds of the Shut Up And Dance label, to the anthemic pop-rave of acts like N-Joi and Shades of Rhythm, to Belgian and German brutalist techno, and, finally to the breakbeat-driven furore of hardcore jungle.
  4. ^ Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. Picador. Back in 1993, when hardcore plunged into the 'darkside', a breakaway faction of DJ-producers like Seduction, Vibes and Slipmatt continued to make celebratory, upful tunes based around hectic breakbeats. By the end of 1994, happy hardcore had coalesced into a scene that operated in parallel with its estranged cousin, jungle.
  5. ^ "Lone Resists the Rave Revivalist Title on "Levitate"". Bandcamp Daily. 20 July 2016. Retrieved 23 March 2021.
  6. ^ "Calling The Hardcore release first compilation". BN1 Magazine. 24 October 2018. Retrieved 23 March 2021.
  7. ^ "20 best: Hardcore records ever made". FACTmag. 3 June 2012.
  8. ^ "The 10 best rave tracks, according to 2 Bad Mice". Dummy Mag. 2 June 2016.
  9. ^ "The 50 greatest rave anthems of all time". Four Four. 10 May 2018.
  10. ^ "10 great lost rave anthems". RBMA. 23 May 2019.
  11. ^ "10 ultimate rave anthems chosen by acid house heroes Altern-8". DJMag. 24 August 2018.
  12. ^ "Adventurous Transmissions from the 12th Isle". If Only UK. 24 May 2017.
  13. ^ Warwick, Oli (20 August 2019). "Aphex Twin on the Rephlex years". Resident Advisor. London: RA Ltd.
  14. ^ Middleton, Tom; Pritchard, Mark (March 2012). "Global Communication". Red Bull Music Academy. Fuschl: Red Bull GmbH.

Further reading

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